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for Audio Visual Conservation 

Motion Picture and Television Reading Room 

Recorded Sound Reference Center 


I'd be a very Beautiful Woman 

if I'd taken care of my teeth and gums" 

Neglect, Wrong Care, Ignorance of the Ipana Technique 
of Gum Massage - all can bring about 


"Yes, dear lady, it's your 
oivn fault. You know that 
—now. You used to have 
teeth that glistened, they 
were so white. And your 
gums were firm and strong, 
"then, if you remember, 
there was a day when your tooth brush showed 
that first tinge of 'pink'— a warning that 
comes sometimes to nearly all of us. 

"But you said: 'It's nothing. Why, I 
imagine everyone notices the same thing 
sooner or later.' And you let it go at that. 

"Foolish you! That was a day important to 
your teeth— important to your beauty. That 
was the day you should have decided, 'I'm 
going to see my dentist right now'!" 

No Wise Woman 
Ignores "Pink Tooth Brush" 

IF you've noticed that warning tinge of 
"pink" on your tooth brush— see your den- 
tist at once. For only your dentist can tell you 
when there's serious trouble ahead. Probably 
he'll tell you that your gums are simply lazy 
—that they need more work, more stimulation 
to help keep them firm and strong. 

Many a child in grade school could tell 
you that often the food we eat is too soft, too 
well-cooked to give gums the exercise they 
need. Realize this— and you understand why 
modern dentists so frequently advise the 
Ipana Technique of gum massage. 

For Ipana is especially designed not only 
to clean teeth but, with massage, to help the 
health of your gums as well. Each time you 
brush your teeth, massage a little Ipana into 
the gums, with forefinger or brush. This 
arouses circulation in the gums— they tend 
to become stronger, firmer. Teeth are brighter 
—your smile sparkles with a new loveliness! 
* * * 

DOUBLE DUTY-Perfected with the aid of over 
1,000 dentists, Rubberset's Double Duty 
Tooth Brush is especially designed to make 
gum massage easy and more effective. 

When Answering Advertisements, Please Mention February MOTION PICTURE 

Through I lie doors of llial workshop cease- 
lessly Bowed girls, girls, girls . . . each with. 
a dream and a hope beyond reaching. 
I lere is one shopgirl who lives a drama so 
amazing, so rich in deluxe living, that it 
ill fascinate and excite you. And 
Jessie might have been you, or you, or you I 




A FRANK BOR^AGE^roduction 

A Metro - GoIdWyn - Mjlyer Picture 
Screenplay byf LaWrence Hazard 
Directed by FRANK BORZAGE 
Produced by Josepk L. Mankiewicz 

Accept No Substitutes! Always Insist on the Advertised Brand! 

DEC 30 1937 


The temptations of Hollywood as 
faced by Clark Gable. Doesn't 
that excite your interest? When 
you buy your March copy of 
MOTION PICTURE you'll want to 
know what the screen's most 
popular actor has to say about 
Hollywood s temptations. You'll 
also want to know Who's Who 
in Hollywood, and whether a 
certain temperamental young 
actress is warring with the studio 
town. And Bette Davis reveals a 
startling new side to domesticity. 
These are but a handful of ex- 
ceptional features that make up 
get in line. Order your copy now 
from your favorite newsdealer. 

Motion Picture Combined with Movifi Classic is 
published monthly by Country Press, Inc. (a South 
Dakota Corporation), at Louisville, Ky. Executive 
and Editorial Offices, Paramount Building, 1501 
Broadway, New York City, N. Y. Hollywood 
Editorial Offices, 6331 Hollywood Blvd., Holly- 
wood, Calif. Entered as secon-d-class matter at 
the post office at Louisville, Ky., under the act of 
March 3, 1879. Additional entry at Greenwich, 
Conn. Copyright 1937 by^^Motion Picture Publica- 
tions, Inc. Reprinting in whole or in part forbidden 
except by permission of the publishers. Title regis- 
tcicd in U. S. Patent Office. Printed in U. S. A. 
Address manuscripts to New York Editorial 
Offices. Not responsible for lost manuscripts or 
photos. Price 10c per copy, subscription price 
$1.00 per. year in U. S. and possessions. Adver- 
tising foams close the 20th of the third month 
preceding date of issue. Advertising offices: New 
York, 1501 Broadvoay ; Chicago, 360 N. Michigan 
Ave.; San Francisco, Simpson-Reilly, 1014 Russ 
Bldg.; Los Angeles, Simpson-Reilly, Garfield Bldg. 
General offices, Fawcett Bldg., Greenwich, Conn. 







Volume LV, No. I 

Combined With 


FEBRUARY, 1 938 

Twenty-seventh Year 

Cover Portrait of Katharine Hepburn painted by Zoe Moiert 

"Will I Last?" Asks Tyrone Power....:..-. .;;.■....■. Jean Benedict 22 

"I Didn't Think It Could Happen Again" — Virginia Bruce Gladys Hall 23 

"Don't Let Hollywood Change You" — This Means You, Danielle 26 

And You Too, Annabella Faith Service 27 

True Confessions From "True Confession" John Schwarzkopf 30 

Charlie McCarthy's Advice To The Lovelorn Jerry Lane 34 

Sothern Exposure Roger Carroll 29 

And a Little Child Still Leads Them (Shirley Temple) .Ida Zeitlin 32 

Scared To Death Of 'ollywood (Fernand Gravet) Dorothy Spensley 36 

Why Men Like Myrna Loy Cyril Vandour 37 

Public Bachelor No. I (Cary Grant) Leon Surmelian 41 

New "It" Girl (Lana Turner) James Reid 43 

^icftrfta£ <: Jmtuf&L- 


Claudette Colbert 

Rosalie .- 

Charles Boyer, Randolph Scott, John Howard. 


Wendy Barrie 

Luli Deste, Heather Angel, Dolly Haas 


The Talkie Town Tattler Harry Lang 

Picture Parade 

Future Favorites — Lynne Carver Lee Blackstock 

Future Favorites — Ernest Truex Hal Whitehead 

Prize Letters 

The Talk of Hollywood 

Hollywood's Trick Parties 

Tip-Offs on the Talkies 

Your Witness on the Stand Winifred Aydelotte 

Men Behind the Stars — William Wyler 

You Know Your Movies? (Crossword Puzzle) 

Serve Savory Soups Christine Frederick 

Care-j- Femininity = Beauty Denise Caine 

This Dramatic World (Fashions) , .' 


I 5 


I I 

Art Director 

Western Editor 

Staff Photographer 

E R V E 

A V R Y 



SOUPS make the "first impression" 
of your dinner. If you are anxious 
to have your dinners "get off on 
the right foot," as it were, be sure 
that this customary first course is 
interesting, and something over 
which your guests will exclaim. 
"What a delicious soup. Do tell me how 
you make it." 

Soups fall broadly into three important 
classes : 

1. Thin clear soups which stimulate 

2. Thin cream soups, delicate in flavor, 
but nourishing. 

3. Thick heavy soups, sufficiently 
hearty to serve as an entire meal. 

Velvet-smooth soups or rich-textured 
cream soups, garnished with toasted 
bread, are relished by young and old 

•.Yv, If the meal is to be elaborate or formal, 
Up the soup should be thin and clear, well 
seasoned and guaranteed to whet, not 
dull, appetites. Here are included the 
bouillons, consommes, Julienne, Madri- 
lenne, etc. All may be bought in canned 
form or prepared at home very inex- 
pensively. Always this type of thin soup 
should be served in a bouillon cup, never 
in a large shallow soup plate. 

If meat stock is expensive, then the 
thin soups may be made from bouillon 
cubes or from a spoon of bottled meat 
extract sauce. Clear soups made with 
a combination meat and vegetable base 
are the easiest of all soups to make. They 
are liquid food in its simplest form. Com- 
bine broths or [Continued on page 74] 

(Daintiness is IMPORTANT 

\This Beauty Bath Protects it... 


'Second Honeymoon" 

I AN EASy wAy- 

usE Lux Toilet Soap 










XT'S Lux Toilet Soap's ACTIVE lather that makes 
it such a wonderful bath soap! It carries away from 
the pores stale perspiration, every trace of dust and 
I dirt. Skin is left smooth, delicately fragrant. No risk 
1 now of offending against daintiness — of spoiling ro- 
mance! You feel refreshed, sure of being sweet from 
top to toe — and you look it! 


When Answering Advertisements, Please Mention February MOTION PICTURE 

• The custom of throwing rice orig- 
inated with the Hindus and Chinese. 
Some Southern Europeans throw figs 
— the Romans threw nuts at bridal 
couples.* One custom, however, that 
seems universal in America, among 
women of all ages, is the desire for a 
soft, smooth skin. 

Have you ever tried Italian Balm 
for skin protection and skin beauty ? 
In a survey, coast to coast, 97.8% 
of Italian Balm users said — "It over- 
comes chapping more 
quickly than anything 
I ever used before." 
Don't take any- 
one's word for the 
genuine goodness of 
Italian Balm. Try it 
yourself— FREE. Use 
coupon below. 

(^Authority: "Nuggets of Knowl- 
edge" — Geo. W. Stimpson, Pub., 
Blue Ribbon Books.) 


Italian Balm 

Costs Under % Cent a Day to Use 



193 Lincolnway, 

Batavia, Illinois 
Gentlemen : I have never tried 
Italian Balm. Please send me VAN- 
ITY Boltle FREE and postpaid. 

City Stat* 

In Canada. Campana, Ltd., F-193 Co /«<■*-■ 

the TALKIE TOWI tattler 

[Continued from page 8] 

Lynn Rodney— 
and NOT her 

singing stand-in, 
Irene Crane. 

PICTURE admits 
its mistake and is 
glad to make 
this correction 
about Miss 
Crane, a famous 
operatic singer 
who has sung all 
over Europe, and 
who for two years 
was soloist with 
the Philadelphia 
Symphony O r- 
chestra. You will 
see and hear her 
in the role of 
Martha in Grace 
Moore's new pic- 
ture, I'll Take 

Miss Crane, 
who is the wife of 
Dr. Stetson 
noted Hollywood 
voice coach (he 
was brought to 
the Coast by 
RKO for voice 
research) re- 
cently visited 
New York for an 
aud'tion with 
radio executives. 
She was offered 
a 26 week con- 
tract by a broad- 
casting company 
for a coast-to- 
coast program, 
but turned down 
the offer because 
she doesn't want 
to be away from 
her husband 
whose work is in 


Old Doc Stork is 
busier than a Holly- 
wood casting director 
these days. Right now 
he's hovering around 
waiting to leave a little 
stooge at the Ted 

From there, it's a 
toss up whether he 

goes to Bob Burns' with a new bazooka 
player or to the Henry Fonda's. 

Dixie Lee and Bing Crosby are also ex- 
pecting another visit from him . . . -ditto 
Doris Warner and Mervyn LeRoy. 

And come spring, Clara Bow and Rex 
Bell will retire to that Nevada ranch of 
theirs where the old bird will bring little 
Tony Bell a brother or sister. 

Other crib-buyers include, the Bela 
Lugosis, the George Barneses (he's Joan 
Blondell's ex, and father of her boy), Lou 
Holtz and Phyllis Gilman. 

—Wide Wcrld 

With a figure that would put Venus 
to shame Diana Lewis, a Warner 
starlet, poses for a ship's figure- 
head, which is to be used in a 
Warner film, Larger Than Life 


L L A N 
JONES and 
Irene Hervey — 
who will be 
mama and papa 
any minute now 
— have found a 
way to end all 
family argu- 
ments concern- 
ing the baby's 
name. In the 
Jones' house are 
two small boxes 
— in one they put 
all the names 
they can think of 
if it's a boy, in 
the other those 
for a girl. 

And if it is a 
boy, Allan gets 
the job of draw- 
ing a name out 
of the box — if a 
girl Irene does 
it. And they hope 
they like the 

THE Bob Youngs 
have finally de- 
cided o n "Barbara 
Queen" for their few- 
months-old daughter. 


of-the-month was 
held by Joan 
Crawford and 
Franchot Tone 
on their second 
wedding anniver- 

Joan and 
Franchot were 
both working 
hard so they cele- 
brated with lunch 
in Joan's studio 
dressing • room. 
Joan wore a gor- 
g e o u s creation 
that she models 
i n Mannequin, 
and Franchot 
the bathing suit 
that he wears in 


ST surprise engagement of the month 

Walter Ruben, the director. 

Virginia and Jack have known each other 
for nine years, but up to the time he started 
to direct her in her latest M-G-M picture, 
they were nothing more than Hollywood 
friends. ■ — in fact, until that time everyone 
expected Jack to marry Judith Barrett. 

Virginia has kept herself out of emotional 
entanglements ever since her divorce from 
the late John Gilbert, and all her friends 
[Continued on page 70] 


Accept No Substitutes! Always Insist on the Advertised Brand! 

S E C A I N E 


TWO women can make cakes from identical recipes, yet ar- 
rive at very different results. They can also follow the 
same beauty routines and in one case the finished product 
will be a triumph, in the other case a flop. When I inter- 
viewed Loretta Young, charming 20th Century-Fox star, 
I discovered that her "recipe" for beauty was as simple and 
practically the same as that used by hundreds of other girls 
who somehow don't get the same effect. 

It didn't take me long to figure out the missing links — pains- 
taking care and a subtle accent on femininity. When Loretta 
brushes her hair, she uses a good brush, never skimps on the 
number of strokes, and makes each one count. After cleansing 
her skin, she never yawns and decides to skip the final applica- 
tion of skin tonic. When she touches up her manicure each day, 
she doesn't fail to massage a bit of cuticle cream around her 
nails. When she applies mascara, she doesn't leave some of the 
lashes clinging together. That's why her hair glistens like 
polished metal, that's why her skin is clear and firm. That's 
why her finger tips are smooth and soft, her lashes so fetching. 
Besides keeping her hair in perfect condition, Loretta uses 

common sense in choosing her hairstyle. When many women 
are following a vogue for high-piled curls and intricate ar- 
rangements, Loretta wears her hair in a long, simple bob be- 
cause ( 1 ) her hair is the soft type that stays neater when 
arranged with a minimum amount of fussiness and (2) soft 
masses of hair around her long, slim throat soften its slimness 
and also make her face seem more oval. Loretta has always 
clung to this basic coiffure, varying it slightly now and then 
to conform with the current styles. At the moment she is 
wearing it in the popular page-boy style, with the ends loosely 
turned under instead of being tightly curled. 

This soft naturalness in her hairstyle has another motive. 
Loretta shies away from any fad in clothes, coiffure or make-up 
that would detract from the basic idea of natural charm and 
femininity that she tries always to convey — and succeeds, as 
everyone knows. 

"I think that physical attractiveness means complete feminin- 
ity in appearance, dress and manner rather than any set perfec- 
tion of features or figure," Loretta told me. To Loretta's mind, 
hair that looks soft and touchable, [Continued on page 60] 


She Was 
Ashamed of 
Her Skinny 

But She 
Added 7 
With 1st 
Bottle of 
— Now 

Read This 

actual Letter 

Front Our Files 

"Kelpamalt Company. Dear 

Sirs : 

I am 5 ft. 5 in. tall. Before 

I was married I weighed 110 

lbs. That wasn't much, but 

better than the 94 lbs. I've 

weighed ever since my boy was 

born 5 years ago. 

I was always active in out of 

door sports and in dancing, but 

honestly, I've been ashamed to 

put on a bathing suit or an 

evening gown for the last 4 

summers. Being so skinny 

actually changed my mode of 


Last August I was visiting my 

mother-in-law. I came to lunch 

in a sun-back dress with 

straps over the shoulders. Mrs. 

H. looked at me and said: 

'If I had shoulders that looked 

like yours, I certainly would 

wear a high-necked dress.' 

Can you imagine how badly I 

felt. I was glad when the 

summer was over and I could 

wear a sweater and skirt. 

Now, thanks to Kelpamalt, I'm 

looking forward to Spring. I 

have taken just 100 tablets 

and I've gained 7 lbs. Think 

of it. Seven pounds in 16 

days. Believe me, I've sent 

for another bottle. I feel so 

well too, and my friends are 

remarking on my looks. My 

only regret is that I didn't 

start taking Kelpamalt sooner. 

Three cheers for Kelpamalt. The best be 

the market. — Mrs. F. H.. Camden, Me." 

Kelpamalt has proven itself so effective 

energy builder because it helps supply the 

vitamins that are vitally necessary for you 

good out of your food. Your own doctor w 

way. Costs but little to use and is sold < 

stores. And remember — your money back 

completely satisfied. 

auty product on 

weight and 
iron, iodine and 

to get the real 
ill approve this 
t all good drug 

if you are not 




Write today for fascinating instructive 50-pap:e nooVlet 
on How Thousands Have Built Strength, Energy and 
Added Lbs. Quickly. Mineral and Vitamin contents of 
food and their effects on the human body. New facts 
about NATURAL IODINE. Standard weight and meas- 
urement charts. Daily menus for weight building. 
Absolutely free. No obligation. Kelpamalt Co., Dept. 
1385, 27 West 20th St., N. Y. C. 






_jr ..." 

sjtm^^BH^^* -- tVie producers, 

Metro-Gol(lwyuiMa>ei. took part i" N po i eon aod bis t w]11 


■^^^ m ... „|B COHl« s Sl° a ™ e = „„, be „, potto 


Z, we suggest |J ls ; ait „nt.lyou see ^ „ „ l£ in lo« ^ttat 

Carole Lombard ana j ._ ■ 



Accept No Substitutes! Always Insist on the Advertised Brand! 


A SOFT Southern accent, beautiful 
auburn hair, and a singing voice that 
leaves her auditors amazed, are the 
weapons with which pretty Lynne Carver, 
daughter of a Kentucky mining engineer, 
crashed the citadel of Hollywood ... But 
here is no Cinderella story . . . the first time 
she tried she failed . . . But now, under con- 
tract to Metro-Goldwyn-Mayer, and trium- 
phant in her first important role, Miss 
Carver need no longer worry about her 
Hollywood prospects . . . Her real name is 
Virginia Reid Sampson, and her first trial 
at pictures, when she played a role with 
Myrna Loy in Penthouse, was under the 
name Virginia Reid . . . her father, Reid J. 
Sampson, is one of the best known mining 
experts in this country . . . Raised in Lex- 
ington, Kentucky, where she was born Sep- 
tember 13, and Birmingham, Alabama, 
Lynne; which is the stage name she has 
chosen for her new career, early showed 
promise as a singer . . . Teachers worked 
with her . . . The family moved to California 
. . . where among the friends she made was 
Polly Ann Young, sister of Loretta Young 
. . . But after Penthouse new jobs didn't 
come . . . With her savings she went to New 
York to study voice . . . on her return in 
1936 she was called to the attention of 
M-G-M executives . . . Tests and a three 
months' trial contract followed, during which 
the name Lynne Carver was chosen for her 
. . . Then came her first really big "break," 
as the sweetheart of Tom Brown in May- 
time, singing vehicle of Jeanette MacDonald 
and Nelson Eddy ... It resulted in a con- 
tract, and plans for important parts . . . 
Oddly enough, though she thought her prin- 
cipal claim to fame was as a singer, she does 
not sing, but plays an ingenue role in the 
picture . . . However, she will sing later. In 
her contract the studio has provided for 
vocal and musical training . . . Lynne is a 
very positive little person, with very decided 
views of her own . . . She is willing to work 
day and night to attain success . . . "I've had 
enough hard knocks to realize there's no 
royal road to doing your job right," she 
remarks ... "I expect to work, and work 
very hard . . . But I think I can make the 
work count . . ." Five feet, six inches tall, 
with graceful, willowy figure, light auburn 
hair, and gray eyes, Miss Carver has an 
unusual youthful charm . . . She lives in 
Beverly Hills . . . Her favorite pet is "Sugar 
Foot," a Spaniel . . . Among those who have 
taken a deep interest in the young singer is 
Irene Dunne. Her most recent appearances 
were in The Bride Wore Red, starring Joan 
Crawford, with Franchot Tone and Robert 
Young, and Madame X, starring Gladys 


of drug, department, ten-cent stores 



When Answering Advertisements, PlEase Mention February MOTION PICTURE 


You'll kave 
more fun when 
tke SKIN is clear 

from WITHIN 

*]\TO MAN or woman wants to have a finger 
J_^| poked at them or receive sympathy be- 
cause of an unhealthy skin appearance. 

Some skin troubles are tough to correct, 
but we do know this— skin tissues like the 
body itself must be fed from within. 

To make the food we eat available for 
strength and energy, there must be an 
abundance of red-blood-cells. 

Worry, overwork, undue strain, unbal- 
anced diet, a cold, perhaps, as well as other 
causes, "burn-up" your red-blood-cells faster 
than the body renews. 

S.S.S. Tonic builds these precious red cells. 
It is a simple, internal remedy, tested for 
generations and also proven by scientific 

It is worthy of a thorough trial by taking 
a course of several bottles . . . the first bottle 
usually demonstrates a marked improve- 

Moreover, S.S.S. Tonic whets the appetite 
and improves digestion ... a very important 
step back to health. 

You, too, will want to take S.S.S. Tonic to 
regain and to maintain your red-blood-cells 
... to restore lost weight ... to regain 
energy ... to strengthen nerves . . . and to 
give to your skin that natural health glow. 

Take the S.S.S. Tonic treatment and 
shortly you should be delighted with the 
way you feel . . . and have your friends com- 
pliment you on the way you look. 

At all drug stores in two convenient sizes. 
The large size at a saving in price. There is 
no substitute for this time-tested remedy. 
No ethical druggist will suggest something 
"just as good." @ s s s- Co _ 




I "'■■' 

■ m j l ' 

H i HBB*^"^^^^^^ ' i Miss Joan 

is W* JV^not only deUver^ gags As taire's_ partner^.^ ^^. 

"Geo^e Burns his agent, x^- The h^- -^ Gardner an ^« ~ tine s 





„d .««'*;«• ittriir,™ to V»J» aroil, Jm Han J chM « bo, „ .» 

• u* nff your chair 
Here .is the.pictu^^^ par , 




" swirling watei 

rilling toAf 
miatic thrills. : 

Trific hurricane^— ^ are V^'ralght 
, ... storm .subsides,™ ^ story whicn 
lookP-n " aing^nr^se-auickemng s^ne^ The^ 

in the eye-compellin= j ^ a/ a , ui atten <ls to a ^ ng honors. « - 

be -Mlidly achfe 6 ved to ^^^Mitchell has Jh *ctn g^ hm . ricane , 
are splendidly ur . B 

sweeping «^w ^ ~ wWch maKe u„ - - 
C^^retty -eU groonie^aft^the^s.^^ 

""splendidly aci™ » ~ - Thomas »*' "eatest wallop. *»" 



Accept No Substitutes! Always Insist on the Advertised Brand! 


ERNEST TRUEX, pint-sized come- 
dian who has starred in scores of 
New York and London stage productions, 
during the past 20 years, has quit the 
theatre . . . He has signed a long-term con- 
tract with Samuel Goldwyn . . . and brought 
his wife, known on the stage as Mary Jane 
Barrett, and their three-year-old son, Barry, 
to settle permanently in Hollywood . . . 
Truex's first assignment under his new 
Goldwyn commitment is as Binguccio, the 
foot-sore stooge to Gary Cooper in The 
Adventures of Marco Polo . . . This isn't 
Air. Truex's first screen role — not by some 
twenty-four years ... in July 1913, Truex, 
then 22 years old, played the leading role 
opposite Mary Pickford in The Good Little 
Devil . . . This was Miss Pickford's first 
feature film, and it also was historic in an- 
other respect ... it was the first feature 
production of the Famous Players Com- 
pany, now known as Paramount . . . Truex 
and Miss Pickford had acted in The Good 
Little Devil on the New York stage for 
David Belasco . . . Immediately after com- 
pleting this first film, Truex and Miss 
Pickford did another picture Caprice to- 
gether ... A few years later Truex acted in 
Vitagraph pictures with Shirley Mason, 
Louise Huff, Dorothy Kelly and other silent 
picture stars who were favorite of the gen- 
eration now graying about the temple . . . 
Born in Kansas City, Missouri, forty-six 
years ago, Truex got off to an amazing start 
as a thespian . . . Every actor's secret ambi- 
tion is to play Hamlet . . . Truex played 
Hamlet when he was five ... In fact, between 
the ages of five and nine, Truex toured the 
Middle West billed as "The Boy Tragedian" 
. . . He played Hamlet, Richard the III, 
Othello and other dramatic Shakespearean 
roles . . . While Truex is forsaking the stage, 
his two sons are carrying on the family 
tradition. James is acting in Tovarich 
while Phillip is appearing ill Richard III . . . 
Several years ago, when Truex headed the 
Whistling In the Dark troupe on a tour to 
the Pacific Coast, talking pictures got him 
for the first time . . . He acted in the film, 
Whistling In the Dark, and later appeared 
with Elissa Landi in The Warrior's Hus- 
band . . . He was not happy with the ex- 
perience ... "I was unknown to movie au- 
diences, yet I was handed to them in starring 
roles," he said ... "I should have been passed 
out to them gradually, appearing in featured 
roles for a time until they became used to 
me" ... So Truex went back to the stage, 
to remain until the Goldwyn offer came 
along . . . Truex is the film's tiniest adult 
featured player. He's 5 feet 3 inches tall. 

But were they?... it's 

a girl's own fault when she 
offends with underarm odor... 

Poor Marion— to have overheard such 
talk! Ann had said: "Heaven knows why 
Marion thinks she doesn't perspire. 
Wearing a woolen dress should put any- 
body wise!" And Jane added, "Mr. Wil- 
son's bound to notice, and he won't stand 
for underarm odor in any of us girls!" 

Poor Marion? Lucky Marion, really. 
Otherwise she might have gone on for 
years thinking that a bath alone could 
keep her safe from odor. 

It's no reflection on your bath that 
underarms need special care. Even when 

you don't visibly perspire, odor quickly 
comes. But not if you use Mum. Mum 
prevents odor before it starts, makes it 
impossible to offend this way. 

MUM LASTS ALL DAY ! Winter's hot rooms 
and warm clothes hold no worries if you 
always use Mum. A dab in the morning, 
and you're still fresh at night. 

MUM IS SAFE ! Even after underarm shav- 
ing, Mum actually soothes your skin. Mum 
does not stop healthful perspiration. 

MUM IS QUICK! Just half a minute to use. 
Mum will not harm fabrics— apply it even 
after you're dressed. With Mum, you'll 
never risk your job... never risk offend- 
ing those you want for friends. 


Avoid embarrassment — 

Thousands of girls use 
NAPklNS because they 
know it's SAFE, SURE. 


When Answering Advertisements, Please Mention February MOTION PICTURE 



Give It No Chance 
to Develop ! 

A cold is nothing to toy with. It may quickly 
develop into something else, more serious. 

Treat a cold promptly. Treat it seriously. Treat 
it for what it is — an internal infection! 

Grove's Laxative Bromo Quinine (LBQ 
tablets) are what you want to take! 

First of all, they are a real cold medicine, 
made expressly for colds and nothing else. 

Secondly, they are internal medication. 

Fourfold Effect! 

Working internally, Bromo Quinine tablets 
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i. They open the bowels. 

2. They check the infection in the system. 

3. They relieve the headache and fever. 

4. They tone the system and help fortify 

against further attack. 

Act Wisely! 

Grove's Bromo Quinine tablets now come 
sugar-coated as well as plain. They are sold by 
all drug stores, a few cents a box. 

The moment you feel a cold coming on, do 
the wise thing. Go right 
to your drug store for a 
package of Bromo Quin- 
ine tablets. Start taking 
the tablets at once and 
you'll usually stop the 
cold in a day. 

Ask for — and insist 
upon — Grove's Bromo 
Quinine tablets. 



Listen to Gen. Hugh S. Johnson on Radio ! 

NBC Blue Network. Mon. & Thurs. 8-8:15 p.m. 
EST; Tues. &.Wed. 10-10:15 p.m. EST. 



'WK'jSk m: ■■** — *®^^ r> But while it 



A « JB , irt -, s entertaining- 

TWs U a warm, hutnan-interes the s ot J alone {o , the W pQOr . 

f , it is so real it mighty c0 ™ wom an, who J n„ { her> a wealtny her 

-on who was taKeii . p r ieda i« ebl - t the risK 01 rly ute. 


S e ^ SS^S^"^^ - r- the 
s^e ** a --^ — . — 



When Answering Advertisements, Please Mention February MOTION PICTURE 



$15 Prize Letter 

ART can have no nationality — it is too 
. vast to be restrained. That is my 
answer to the shouting against foreign stars. 
It is all very well to try to keep our routine 
jobs for Americans, but that should not 
apply to the field of art in general nor the 
field of drama in particular. If we want the 
American screen to remain at the top in 
cinematic accomplishment, we must admit 
the greatest talent, regardless of nationality. 
English actors have improved American 
diction. Voices like those of Ronald Colman, 
Herbert Marshall and Basil Rathbone have 
won our envy and spurred us on to improving 
our own speech. Then there is the deep 
emotional quality of such foreigners as 
Garbo, Rainer, Muni, Bergner and others. 
The high standards set by artists who have 
come to our country to act, sing, direct, pho- 
tograph, etc., should not arouse anger. They 
should command our respect and gratitude. 
Margaret A. Council, 811 Hickman Road, 
Dcs Moines, Iozva. 

$10 Prize Letter 

I WAS dismayed when I saw this state- 
ment about Edgar Bergen in a recent 
issue of MOTION PICTURE: "It has 
been proven that Bergen's 
trained voice is able to ex- 
press all the human emo- 
tions, so why shouldn't 
Edgar John who is en- 
tirely personable with 
well-cut features and 
dimples become a ro- 
mantic actor?" Admit- 
tedly, Edgar Bergen is a 
very handsome, talented 
young man with a re- 
markable well trained 
voice but, please, Mr. 
Producer, don't make him a romantic actor. 
For romance there are so many handsome, 
talented young Taylors and Gables ; but, 
for humor, there is only one Bergen. He is 
unique. With Charlie McCarthy he has 
achieved a phenomenal success and has 
made himself and Charlie loved by every- 
one. Leave him in the field of entertain- 
ment in which he has proven himself su- 
preme and leave the romancing to others. — 
Mary L. Smith, Box 848, Plainview, Texas. 

Edgar Berge 

$5 Prize Letter 

AT LASTwe've something to shout about ! 
■ Movies and Radio have merged lock, 
s':ock and barrel and what a happy union it 
is ! For years we've watched and listened 
while Hollywood turned up its collective 
nose at Radio and Radio did 'er darndest to 
get the edge on Hollywood. The result was 
unsatisfactory to both sides and annoying 
to the public in general. Of course, there 
was no real cause for jealousy between them, 
for you can't take a movie home with you and 
certainly you can't satisfy that yen to "see 
and be seen" lounging by the parlor radio. 
So while the grounds for battle were con- 
spicuous by their absence, we all profit by 
this troth between the combatants. The new 
Maxwell House program is fascinating and 
it's a joy to see our favorite radio stars on 
the screen. Orchids to the biggies who made 
celluloid and ether mix ! — Mildred Meeker, 
816 E. 20th St., Anderson, Indiana. 

$1 Prize Letter 

T RECEIVED a thrill when I saw 100 
J. Men and a Girl because it was one of the 
best musical pictures I have ever witnessed. 
It has plot ; it has sus- 
pense ; it has music by 
Leopold Stokowski's or- 
chestra ; it has splendid 
singing by D e a n n a 
Durbin and it has ex- 
cellent acting by Adolphe 
Menjou, Eugene Pallette, 
Mischa Auer and Alice 
Brady. The music of the 
picture is exquisite and 
the actors gave everything 
within their power to 
their parts. It is a musical 
that is not a mere clothes-horse upon which 
songs are hung like so many articles of 
wearing apparel, but a genuine piece of 
thrilling acting that stands out in my mem- 
ory like a living, breathing thing that has 
all the pain, sorrow and joy of life packed 
within its confines. Indeed, it's a master- 
piece. May there be many more like it in 
years to come ! — Warren E. Crane, 1611 
First Ave. North, Seattle, Wash. 

Deanna Durbin 

Cary Grant 

$1 Prize Letter 

THERE is a talented young actor in 
Hollywood who for a long time got only 
mediocre parts. Yet he never failed to turn 
in a swell performance. 
He played newspapermen, 
aviators, itinerant artists 
and playboys — w i t h a 
natural ability and a fine 
sense of comedy when the 
occasion demanded. Tall 
and dark, he has a sort of 
lopsided smile that ap- 
peals to women. Yet, he is 
a man's man, virile and 
natural, with a touch of 
the old Nick in him that 
men like. Recently, some 
smart casting director woke up to his pos- 
sibilities — resulting in a grand part as the 
irresponsible playboy ghost who haunted 
poor old Topper. And now he follows that 
up with the juiciest role of his career — that 
of the male lead in the maddest comedy that 
ever came out of Hollywood — The Aivfnl 
Truth. Good luck to a grand guy — Cary 
Grant. — R. Rivers, 2778 Bainbridge Ave., 
Bronx, N. Y. 

$1 Prize Letter 

WE GO to the theatre to be entertained 
and not reminded of the state our 
country is in. I think it is a big mistake to 
put politics in the movies, 
especially with a "big- 
name" star such as Eddie 
Cantor. He has lost many 
friends, including me, be- 
cause of his work in the 
new picture, AH Baba 
Goes to Tozvn, which is 
a poor satire on the Presi- 
dent and his governmental 
ideas. I think the joke, in 
the end, will be on the 
producers. Perhaps 
Maine and Vermont will 
like the picture ! Eddie, let politics alone and 
be our jolly but righteous comic again. Don't 
let them count you out. — Harold M. Wright, 
116 Vine St., Conncrsville, hid. 

Eddie Cantor 


Your opinions on movie plays and players may win money -for you! Three 
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; w . ^ v ^.oci 

directed by 

" >■ Screen Play by Jerry Wall). Maurice 
Leo and Richard Macauley ■ Original 
Story by Jerry Wakl and Maurice Leo 
Music and lyrics by Dick Whiting and 
Johnny Mercer • A First National Picture 

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"Will I LAST?" 





WILL I last? — This must be the burning ques- 
tion young stars ask themselves when, having 
made swift, sensational ascents to the Milky 
Way of Moviedom, they look down from that 
astonishing Alp and survey the distance they 
have covered. 

Will I last? — this must be the question, asked 
by such young headline heroes as Tyrone Power, 
Jimmy Stewart, Robert Taylor, Wayne Morris. Jon 
Hall, others (we are dealing, here, with heroes only 
— heroines are, for once, eliminated). 

They must feel more than a little dizzy standing 
there on the heights remembering those who have 
taken sickening nose-dives into oblivion and obscur- 
ity through defects of character, circumstances they 
could not control and temptations they could not 
conquer. They must feel curious thinking of those 
who have survived the ordeals of fame and notoriety 
and too-much-money-too-fast, Clark Gable being the 
most notable of these survivors. They must, or they 
should, study the patterns of Paul Muni, Spencer 
Tracy, men who have remained solid substance 
though compounded of Stardust and crowned with 

It is all a matter, or so Tyrone Power feels, of 
the calibre of the man. It is the stuff of which the 
man is made which answers this question as, actually, 
it answers all other questions. The metal of the man 
determines whether he will be catapulted into the 
limbo of forgotten stars or whether he will remain 
securely anchored to his peak of eminence. 

Perhaps no other male star, with the exceptions of 
Gable and Taylor has ever scaled the Hollywood 
heights with so few steps as those taken by Tyrone, 
age twenty-three. He is much too handsome, one 
would certainly suppose, for his own good or for his 
own modesty. He is six feet tall, weighs 155 pounds, 
has a dark crown of hair, dark brown eyes — with 
depths in them. He has such romantic appeal as all 
maidens' dreams are made of. I dare to prophesy 
that he will not be caught in the quicksands of flat- 
tery, passionate pursuit, inflation of ego, because he 
is fortified with a keen and salty mind, a sense of 
humor, a perspective, a stable background, a warm 
and eager heart. 

He does study the patterns of Muni and Spencer 
Tracy. Though when I asked him if he would like, 
in time, to become "another Muni" he gulped and 
seemed unable to swallow an idea too big, too flat- 
tering for him to acknowledge. He laughed, then, 
and said: "I want to play in bio- 
graphical pictures (he may, I hear, 
do the Life of Alexander Bell). 
The only time I get bored with 
myself is when I have to play my- 
self." He does NOT want to 
capitalize on his youth, or that 
common commodity known as "sex 

He has been active in pictures 
for only a year and a half. In that 
brief span of time he has played 
in Girls Dormitory, Ladies in Love 
(where he first met Janet Gaynor ) , 
Love is [Continued on page 86] 








VIRGINIA said: "I didn't think that 
this could ever happen to me 
again . . ." 
I didn't think it could happen to 
Virginia again, either, to tell the 
truth. I was a little afraid for her. 
I don't think that Hollywood be- 
lieved it would happen to her again. And 
I am so glad for Virginia. And Holly- 
wood is so glad for her, with the excep- 
tions (how many !) of those youths who 
will be left dancing with tears in their 
eyes, now that Virginia's dance dates are 

And all of her friends are glad for her, 
Dolores del Rio and Cedric Gibbons, 
Sandra and Gary Cooper, offering her 
their houses for her wedding ; her warm 
friends who have watched her through 
these past years, respecting her for the 
way she moved with baffled eyes but a 
quiet heart, with desperation but always 
with dignity, through the storms and 
stresses, the great Unquiet of her love for 
John Gilbert, their marriage, their sepa- 
ration, his death. 

No, I didn't [Continued on page 76] 

Combining West Point with the mythical kingdom of 
Romania indicates plenty of romance, adventure and 
all the other ingredients that go to make up the ex- 
travaganza Rosalie — which introduces the Hungarian 
Rhapsody, llona Massey (above), surrounded by the 
ensemble in one of Cole (You're the Tops) Porter's 
song numbers, Spring Love Is in the Air. At the 
left are ingenue, Virginia Grey, and Ray Bolger as 
a dancing kay-det, while (lower left) you see Eleanor 
Powell and La Massey again. Across the page is Nelson 
Eddy in the dress uniform of a West Pointer — and tell- 
ing admirer Eleanor Powell how he will score touch- 
downs as well as song hits in M-G-M's most lavish musi- 
cal. In the circle is Eleanor Powell who executes the 
most novel dances of her career. Rosalie looks like 
entertainment plus — with the voices of Massey and 
Eddy, the dancing of Powell and Bolger pointing the 
way — to say nothing of the words and music — and girls 



DEAR Danielle: 
After talking with you the other 
day, after seeing you in your 
French films, Abus de Confidence 
and Mayerling, I feel like writing 
you a letter which, actually, I could 
sum up in six words — Don't Let 
Hollywood Change You ! But of course 
I won't confine myself to six words. 
What woman ever does ? 

But I will make the point I want to 
make first, instead of putting it in a post- 
script, another common feminine whimsy. 
And this main point is : Don't let Holly- 
wood change your mobility of expression 
and emotion, your self-confidence, your 
belief that new worlds are manufactured 
for the express purpose of being con- 

You have the most mobile, the most 
changeable face I have ever seen. You 
have the most varied emotions of any 
actress I've ever seen with the possible 
exception of Bette Davis. I've only met 
you the one time, Danielle, but that one 
time was long enough to make me feel 
that I'd met half-a-dozen different girls 
in one. You are a child as well as a 
sophisticated woman of the world, you 
are the little country girl who grew up in 
the Bordeaux country with the simple- 
hearted peasants. You are the screen star 
of France, of Berlin, of Bulgaria, of 
Czecho-Slovakia where you have made 
pictures; you are gay, you are emotional, 
you are dignified, you are mocking. And 
the transitions [Continued on page 62] 


Danielle uarneux 
debuts here in The 
Rage of Ptxis. Top, 
with Charles Boyer 
in a European sen- 
sation, Mayerling 






DEAR Annabella: 
I feel a perfect fool writing this 
letter. For if ever words of well- 
meant advice were totally unneces- 
sary these will be the words. You 
don't need advice, Annabella. You 
know what to do, how to do it and 
when. You are as self-reliant, as inde- 
pendent as the date of your birth — July 
14th, Bastille Day in your own Paris — a 

day corresponding in historical signifi- 
cance to our own Independence Day, 
July 4th. Not for nothing were you born 
on an Independence Day, my dear 
Madame Murat ! (I didn't know that 
you were married, Annabella, until you 
told me the other day — married two years 
— your husband "an actor in the cinema" 
and soon to join you over here in Holly- 
wood). [Continued on page 83] 

They may not be buddies to each 
other, but they are buddies to 
you. The FANettes of America 
have placed Charles, John and 
Randy on a pedestal 'cause they 
command not only "wim an' 
wigor" but also the art of making 
grand lovetofairladies. Charles 
is now wooing Claudette Col- 
bert in Tovarich, John is saying 
sweet nothings to Lily Pons in 
Hitting a New High — and 
Randy is Shirley Temple's Big 
Moment in Rebecca of Sunny- 
brook Farm. We defy you to 
name three worthies more de- 
serving of your laurels, or your 
fan mail, or your photo album, 
or, being mentioned in your sleep 

HUlfS B Y E R 









■ lOU are sitting in the living room of the 

■ ■furnished English house in which Ann 
U Sothern lives alone, except for servants, and 
■ doesn't like it. 

I It is a medium-sized room, attractive but 
I — rather dark. A fireplace, two doorways, 
two small windows, a small bay window 
and a stairway leading to a banistered mezza- 
nine attend to that. And the small windows 
let in precious little sunlight. On either side 
of the fireplace, facing each other, are two 
divans, which fill the center of the room. They 
are light. The rest of the furniture is dark. 

You wonder (to yourself) if this room is 
one reason why Ann is always working, always 
at the studio, whenever she is in Hollywood 
— one reason why she escapes as soon as she 
finishes a picture. (The main reason, of course, 
being Roger Pryor, her traveling orchestra- 
leader husband.) She finished She's Got Every- 
thing the other day, so she could join Roger 
in Dallas. 

This dark room doesn't fit a girl with shining 
blond hair, lively blue eyes, an airy sense of 
humor and young ideas. Particularly a girl in 
a white slack suit. You tell her so. 

Sitting opposite you on the other divan, Ann 
grimaces. "I'm developing a mania about having 
a house," she says. "I'm cutting out clippings 
about houses, by the carload. I'm buying linens 
and things. I've been looking frantically for 
months for a place I could call mine. I haven't 
found one. Not one that wouldn't cost a fortune. 
So I'm going to build." 

She doesn't know yet exactly what 
she wants. (The trip to Dallas 
may help her decide.) Some- 
thing white, inside and out. 
Something Early Ameri- 
can, probably — with not 
too many rooms, but 
every room large and 
airy. Not a show- 
place. A home. 
"But what," you 
[Contimwd on 
page 65] 

The large por- 
trait shows Ann as 
she is today, and 
(left) as she ap- 
peared when on the 
stage — and likewise 
making her first movie 


IN A LITTLE sheltered cove up at Lake Arrowhead, Director 
Wesley Ruggles had instructed his crew to set up for action. 
Just beyond the little cove and sheltering the cottage that was 
perched on the shore from strong winds, a small point jutted 
out into the lake. 
It was around this point that we saw the famous John Barry- 
more row in a small boat. When John reached the "hearing 
range" of the "mike" he suddenly stood up in the boat, said a few 
words and toppled overboard into the lake. Such antics were indeed 
puzzling, but upon questioning, we found that this was all part 
of the script and that John was merely doing his bit to make one 
of the screwiest comedies that ever hit the screen that much more 

To put three such people as Carole Lombard, Fred MacMurray 
and John Barrymore in a picture and not expect a smash hit out 
of the resulting efforts of such a clever trio would be sheer in- 
sanity and the worst sort of pessimism. 

Comical as it seemed at the moment, John's falling into the water 
that day would not have been possible had it not been that Carole 
proved once and for all that a Lombard never forgets. There was 
a strong drama enacted behind the scenes when Barrymore was 
given a part in that picture along with Lombard and MacMurray ! 

Three years ago when Carole was just another leading lady 
struggling to achieve fame and real distinction, she was cast in 
a picture called Twentieth Century, in which John Barrymore was 
the star. The great Barrymore with his years of acting experience 
took an interest in the young actress and went out of his way to 
coach her in the tricks of the trade. 

Carole said then, as she has many times since, that she learned 
more in that six weeks about acting than she had in the previous 
six years. 

Since that time, three years ago, Lombard has skyrocketed to 

a place among the first five 

feminine actresses in Holly- 

, , _ _ _ _ wood. But the breaks haven't 

At left are husband Fred Mac- been so d for j ohn _ the 

jsts^sb 3ftJ*S5 «» r h ° — r ^ rr 

Above, John Barrymore and Una can stage on its ear and who 

Merkel who srid their two cents has starred in the best class 

worth to the fun. Also Carole "A" pictures, lately has been 
and Edgar Kennedy add their bit [Continued on page 57] 


Below, Carole and Eleanor Fisher, 
zine Contest Winner — also Toby 
Wing and Porter Hall. Right, 
Fred chokes the truth out of 
Carole, and lower right, Director 
Wesley Ruggles in a rehearsal 



A PLACE among the ten best box-office draws of Holly- 
wood is to the movie world what the accolade used to be 
to the world of chivalry. To be one of the ten is more 
than most hope for. To be first of the ten is a goal few 
dare even vision. Until last year no one had reached it 
At six-and-a-half, a child moved in at the head of that 
glittering galaxy. At seven-and-a-half she not only held her 
throne, but had widened the distance between herself and her 
nearest competitor. At eight-and-a-half — well, as this goes to 
press, the scores have not been made public. But the little birds 
who tell, and the little whispers that travel the grapevine route 
all twitter the same story — that for the 
third time in a row Shirley will be 
crowned queen. 

Any way you look at it, it's an amaz- 
ing achievement. Shirley's not the first 
child who has captured the world's 
imagination. Jackie Coogan did it in 
The Kid. But appearing as he did in a 
Chaplin picture, Jackie was guaranteed 
his audience. Shirley's first picture was 




a little number that gained its only importance through the fact 
that she was in it. Jackie Cooper did it in Skippy. But when 
you say Jackie Cooper, you think of Skippy. When you say 
Jackie Coogan, you think of The Kid. Each of them is in- 
separately identified with one great picture. When you say 
Shirley Temple, you think of Shirley Temple, as you saw her 
grow from four to eight in a succession of pictures, not even the 
poorest of which could dim by the lightest shadow the love 
you bear her. 

Other children have found a place in your hearts — Freddie 
Bartholomew, Jane Withers, Deanna Durbin. But about the 
quality of your affection for Shirley, there is something 
special. It's almost as if she were one 
of your own, stirring that intimate 
tenderness and warmth generally re- 
served for the child who is near and 
dear to you. 

What is there about her that sets her 
apart? She's a pretty child, but there 
have been prettier. She's an intelligent 
child, but so are most movie children. 
It's true that [Continued on page 73] 

C. B. DeMille has an envi- 
able record as a producer- 
director of great pictures. 
All signs point to his new 
opus, The Buccaneer, as 
the triumph of his career. 
With Fred March as Jean 
Lafitte, the swashbuckling 
pirate who helped Andrew 
Jackson stand off the 
British in the war of 1812 
— and Franciska Gaal as 
his light o' love, you have 
stars who fit right into 
the scheme of things — a 
scheme calling for color- 
ful action and adventure 

CHARLIE McCARTHY, the great lover 

HE IS the Great Lover of Hollywood. 
Women fight over him, fuss and fume. 
When they kiss Charlie they touch wood. 
He's their Lucky Boy, their riveted Romeo. 
Even Shirley Temple cries for him. 
And the secret of this strange McCarthy 
charm ? 
"Technique, my dear, technique," said Charlie 
firmly. "I have studied the matter thoroughly — 


According to Edgar 
Bergen, Charlie was 
never sex-conscious 
till he came to Hol- 
lywood But Charlie 
wooden agree to that 

In composite photo, above, Charlie shows how 
he makes Gable jealous when wooing Carole 
Lombard. Below, he gets prettied up for ladies 

and I must say Hollywood offers a remarkable field for 

"The fact is," interposed Edgar Bergen, his half-silent 
partner so to speak, "Charlie was never sex-conscious 
until he came here." 

"Oh, I wooden say that. I had my romantic moments, 
you know, when I was nothing but a young sprout really. 
A mere sap-ling." The little fellow adjusted his monocle 
and eyed me gravely. I began to wish I'd worn my 
new hat. 

"Have a lemonade, Miss Lane ?" Now I knew I should 
have worn it ! 

It was warm in the garden where we were sitting. The 
blue-tiled swimming pool glistened in the sun. (Young 
Mr. McCarthy does very well by himself and Mr. Bergen ; 
it's a mansion they have now with butler and all.) A 
woodpecker looked at Charlie. [Continued on page 52] 


THE reasons why France's No. One Glamor Actor, 
Fernand Gravet, tarried so long on Gallic shores be- 
fore embarking for America and 'Ollywood are two. 
Totalled, they equal fright. He says, minus all the 
eyebrow elevating of his first and successful American 
film, The King and the Chorus Girl: "I was scared 
to death. 'Ollywood success is like a prize-fight 
championship. If you lose in 'Ollywood, you lose every- 
where else in the world. You have no prestige. 'Ollywood 
has found you a failure. No one else will gamble on you." 
Gravet says this earnestly, for earnestness is the greatest 
part of this import's charm. He has the mannered gravity 
of Charles Boyer. He lacks the off-stage glumness that 
distinguished Maurice Chevalier. You feel, nevertheless, 
that in principle Gravet concurs with yesteryear's French 
importation, the laughing-lipped Maurice. A photographer 
once asked Chevalier to give his famous smile as he entered 
a theatre foyer. "The smile," answered Chevalier, grimly, 
"will be ready when ,you need it." With Gravet, 
the twinkle will be ready when the cameras 
need it. 

The other reason why this thirty-ish gentleman, 
late of France's shores, was in no hurry to 
rush to 'Ollywood was that no actual com- 
mitment had been given him. He turned 
down at least ten contracts proffered by 
film producers anxious to have his name on 
their players' lists. Managerial shrewdness 
(he makes his own contracts in Europe; in 
America is under personal contract to 
Mervyn LeRoy Productions) recalled to 
him Confrere Boyer's 'Ollywood predica- 
ment. Monsieur B., was shunted from small 
part to small part [Continued on page 84] 







In every man's heart Myrna it wife, 
sweetheart and mother of his kids. 
That's how she clicks with men. 
(Right) Myrna with husband Arthur 
■intiblow and man of her heart 


DEEP down in every man's heart is 
enshrined the idealized image of 
woman, as wife, sweetheart, and 
mother of his children. If I were 
a painter and tried to give expres- 
sion to this cherished image of the 
elemental woman on canvas, I'm 
sure I'd make it look very much like 
Myrna Loy. 

For this exotic beauty from the hinter- 
lands of Montana personifies the supreme 
feminine art of being a lovely lady — a 
rare accomplishment in these days. No 
other cinemactress gets more letters of 
admiration from men, and among her 
fervid fans there are not only schoolboys 
from the four corners of the earth pour- 
ing out their souls to her, but doctors, 
lawyers and intellectually 
mature men in all walks of 

Undoubtedly, she is the 
secret passion of all the dis- 
contented and disillusioned 
husbands in the Republic. 
Men are crazy about her 
because by some strange 
alchemy she embodies in 
her all the physical and 
spiritual qualities of the 
tender sex which they seek 
with all the force of their 
deep-seated instincts and 
cravings. She represents 
the composite picture of all 
the beautiful and lost 
mothers and wives and 
sweethearts in the world. 
When I first met her I 
was prepared to be dis- 
illusioned. I thought the 
Myrna Loy of the screen 
was simply too incredibly 
good to exist in real life, 
[Continued on page 78] 




A classic column and artful draping lend dramatic value to Loretta Young's Imperial 
blue crepe roma dinner dress, left. Sapphire and diamond bracelets adorn her wrists. 
If Degas were alive he'd probably want to paint Loretta, poised on her toes, far left, 
in her ballet inspired evening frock. It's of triple net in pink, blue and black. 
In the circlet, Loretta's fragile beauty is emphasized by a diaphanous white tulle 
and silver sequin gown which she will wear in Second Honeymoon, her latest picture. 
Black and white velvet, moulded to the figure, lends dramatic importance to Gloria 
Stuart, above. A velvet shoulder cape, bordered in white fox completes the ensemble. 
Claire Trevor, above and right, wears this black net corded in silk braid in Second 
Honeymoon. An off-shoulder bodice, held by halter straps, adds the dramatic touch 


Above, Lynne Carver makes a dramatic entrance in her red fox 
cape and shaded chiffon dinner gown with fullness in the front. 
For cocktails, dining out, or the theatre, wear a black suede 
suit like Lynne Carver's, above and left. A slit at one side 

"e skirt strikes a dramatic note. Tuck in a white ascot. 

ramatic climax Is Lynne Carver's black velvet dinner dress, 
left. Rows of taffeta under the full skirt make it stand out. 


Cary Grant used to be 
that way about Mary 
Brian. But now 
he is attentive to 

Phyllis Brooks who 

in turn likes Cary 



While Cary h al 
played the field the! 
were times when 1 
favored Betty Fill 
ness. He likes gir 
who lay off baby tal 


|N LONG, swinging steps Cary came bouncing into his 
dressing-room on the jungle set of Bringing Up Baby, 
at RKO. "Sorry, I couldn't see you before," he said in 
that deep, resonant voice of his. He still speaks with a 
trace of English accent. "There's a leopard in this pic- 
ture, and they have closed the set to everybody. The 
whole picture is based on Miss Hepburn's attempts to 
hide the leopard. I'm playing a professor of zoology." 

He pulled off his coat and tie, un- 
buttoned the collar of his shirt, and, 
seized a towel from a rack, wiped the ■* I C A y < 
beads of perspiration off his face. "It's B / LEV™ ' 

terribly hot in the lights," he explained. From the cat- 
walks batteries of incandescent lamps poured their hard 
light on this man-made forest. There he was, the long- 
legged, arms-flying Cary Grant in the flesh, his thick mop of 
hair just as black and well-combed and wavy as you have 
seen it on the screen. His teeth are perfect and very white 
in the dark background of his tanned face. He is just as 
good-looking off the screen. 

Cary Grant is an extremely popular 

star today, and producers are dicker- 

II D II E I I A H ' n & anc ^ yammering for his services. 

U K M C L I A R But there [Continued on page 80] 







OF 1938 

l-Uight 5 ft. 4 in. 

Weight 10? Ibt. 

Butt ... 34 inches 

Weist 22'/ 2 inches 

Hips . ... 35 inches 

Hat 22'/ 2 »«» 

Dress 14 size 

Hose 9 size 

Shoes 6A size 

Gloves ... 6'/i size 


V ^*-<!fe 

ANA TURNER walked across the 
screen, wearing a schoolgirl's skirt 
and sweater, and Hollywood rubbed 
its eyes and looked again. The 
girl was a sensation. No one had 
seen her before. No one saw 
more than a few brief flashes of 
r now — as the business-school stu- 
dent whose murder in the opening se- 
quence of They Won't Forget, precipi- 
tated the whole bitter tragedy of that 
powerful document against prejudice. 
No one had time to decide whether 
or not she could act. But that question 
was unimportant. The important thing 
was that she had that certain something 
that only one girl in every movie gen- 
eration seems to have. That electric, 
youthful, inescapable, indefinable some- 

And, oddly enough, that one girl 
always seems to be a schoolgirl. 

Clara Bow, for example. Clara had 
it. Had it in such lavish measure that 
she was called "The IT Girl." 

Then, there was Jean Harlow — 
tragic, unforgettable Jean. She had it 
to such a superlative degree that no 
one compared with her. Many tried. 
But to the end, she was THE Platinum 

Clara was a schoolgirl in Brooklyn, 
New York, when she won the beauty 
contest that catapulted her onto the 
screen. Jean was a Kansas City school- 
girl-bride of 16, honeymooning in 
Beverly Hills, [Continued on page 68] 



■ If you've been wondering 
why you don't hear much 
about Neil Hamilton's bff screen 
doings — here's the answer. For 
the past five years, between eight 
in the evening and ten o'clock 
''lights out" Neil has been spend- 
ing his time reading to the men 
at the Veterans' Hospital at Saw- 
telle. Right now, he's somewhere 
toward the middle of Gone With 
The Wind — figures another 
three months and he'll be able to 
start a new book. 

Hailing Daddy's Shadow 

■ It's all right for Don Ameche 
and his wife to go to Palm 
Springs for a short vacation — but 
young 4-year-old Don, Junior, 
isn't so hot about the idea. While 
his folks were away, Donnie's 
nurse took him to his first movie 
— one in which his Dad appeared. 
And when the little fellow recog- 
nized his Dad and heard him talk, 
he expressed himself on this va- 
cation business by demanding at 
the top of his voice: "Hey, 
Daddy, when are you coming 

Standing In For Stand-in 

■ There's really a lot of 
these good deeds going on 
in Hollywood, if you look for 
them. Take Barbara Stan- 
wyck, for instance. Just the 
other day, her stand-in, Holly 
Barnes, was rushed to the 
hospital for an appendectomy 
— but refused to enter the op- 
erating room unless Barbara 
was with her. So Barbara got 
all tied up in a nurse's steri- 
lized outfit and held Holly's 
hand throughout the opera- 
tion. And if you think that's 
easy — just take a whiff of 
anesthetic sometime when you 
don't have to ! 

Mons. Gablerelli 

■ Don't look now — but 
that's Clark Gable design- 
ing clothes for Alice Marble, 
Carole Lombard's tennis-play- 
ing gal friend. 


|f ■ 

Say It Aint So.Ginger 

■ In spite of all evidence to the contrary, 
Ginger Rogers doesn't think her legs 

are good looking — and, because of that, kills 
about fifty percent of her still photographs. 
And her excuse always is that her legs look 
too skinny. 


■ Once every three months, Charlie 
Chaplin pulls himself together and goes 

to the barber. He hates to have anyone 
fuss with his hair and in between visits, 
works out with a hand mirror and clippers. 

It's fair swimming-pool weather for 
Basil Rathbone and his. pet spaniel 

■ Gary Cooper doesn't use a dressing- 
room very much on the set these days. 
His own is being remodeled, so the studio 
loaned him Ida Lupino's to use in the mean- 
time. And if you could see Gary in the 
midst of fluffy pink cushions, lace ruffles 
and crystal perfume bottles — you'd know 
why he prefers to stand around on the set 
between shots. 

Answer "Yes or No" 

■ I don't know what's the matter with 
Freddie Bartholomew. The kid has 
been in more law suits and court appear- 
ances in the last two years than anyone in 
Hollywood. ('And that's a record' !) And 
you would think he had seen enough of the 
inside of courts. 

But now Freddie comes forth with the 
announcement that when all this acting 
business is over with, he is going to 
study to be a lawyer! Maybe it's just 
that he wants to ask the questions for a 

Backward Oh Backward 

I Sixty-one year old Bill Robinson has 
sent a challenge to Irving Jaffee, ice- 
skating speed champion. Bill is ready to 
wager from one thousand dollars up, that 
he can run backwards faster than Jaffee can 
skate backwards. The distance to be 75 
yards. Bill holds the running-backward 
record for this distance — eight and one- 
fifth seconds. And remember, Bill, no Shag, 
Suzy Q or Big Apple allowed. 

Why She's Eggsquisite 

■ Every day, every week, all 
year long, its two raw eggs 

in beef broth for Sonja Henje's 

This Is So Sudden 

H Declarations of affection and 
proposals of marriage aren't 
uncommon things for stars to find 
in their fan mail. But Mary 
Boland thinks she has the prize. 
A long letter from a would-be 
husband ended with this happy 
thought: "Even if your apparent 
feeble-mindedness is a permanent 
state, I don't mind. I'll marry 
you anyway." 

Flocks Of Maguires 

■ Little Mary Maguire, the 
Australian actress who has 

made a name for herself at 
Warner Brothers, has brought 
her four sisters to Hollywood. 
They are all trying for movie 
careers — two of them working in 
the Deanna Durbin picture, one 
of them is making a test at 
M-G-M, and the oldest, Patricia 
who is twenty-one, is exercising 
to get rid of extra pounds before 
she crashes the field. 

If they all click, it will be the 
biggest bunch of sisters that has 
made good in Hollywood. 

The American Ballet's Heidi Vos- 
seler, in Goldwyn Follies, has the 
best figure of all ballet dancers 

Mutual Admiration Society 

■ The two newest members of 
Hollywood's M u t u a 1-A d- 
miration-Society are Greta 
Garbo and Deanna Durbin. 

Garbo was so impressed with 
Deanna's singing when she saw 
100 Men and a Girl that she wrote 
a note to the little actress invit- 
ing her to a studio showing of 

But don't get excited — Garbo 
hasn't gone social. Deanna at- 
tended the preview, but Garbo 
wasn't there. And the child 
wonder is wondering if Garbo 
isn't a myth after all — Greta 
being as elusive as a rope-climb- 
ing Hindu who disappears into 
thin air. 

New Tarzan is Olympic 
champ, Glenn Morris. Mate, 
ex-swimmer, Eleanor Holm 

If these lion cutis were full-grown they 
would take Joan Woodbury in their arms 


grets the publication of 
the item about Betty Blythe 
that appeared in The Talk of 
Hollywood department of the 
October 1937 issue as follows : 
"Working on a movie set re- 
cently was Betty Blythe, once 
a multi -thousand dollar a week 
star, now working as a $7.50 
a day extra." 

This item is not factual and 
to retract it. In reality Betty 
Blythe does not work as an 
extra and has not worked as 
an extra — and currently is ap- 
pearing throughout the United 
States as a supporting player 
and member of the cast in the 
M-G-M picture, Conquest, 
starring Greta Garbo and 
Charles Boyer, portraying the 
role of Princess Mirka. Miss 
Blythe also enacted a leading 
feminine role in Rainbow 
on the River, featuring Bobby 






When not shooting pictures, Kath- 
arine Hepburn shoots a good game 
of golf. Here's a shot to the green 

Leatrice Joy Gilbert, daughter of late 
John Gilbert and Leatrice Joy, studies 
screen test with the aid of her mother 




Sculptor Roger Noble Burn- 
ham finishes his plaque of 
Betty Grable who, as model, 
depicts Spirit of Hollywood 

- Wide World 

Sneezes From Snooty 

■ If you don't have a prize-winning 
dog or a blue ribbon horse — you just 

aren't up on the current Hollywood 
trend. And right now it's dogs. 

Jeanette Mac Donald has a kennel of 
prize winners, so in a gesture of appre- 
ciation for some lovely costumes designed 
for her — she presented Adrian with one 
of her most valuable Bedlington terriers. 
Adrian entered right into the spirit of the 
thing and named it "Snooty." Then he 
began to sneeze — Adrian, not the dog. 
He kept it up so long that he had to give 
up his kennel foundation and return 
Snooty to Jeanette. Seems anything 
with fur on it gives Adrian hay fever ! 

Still Dog At Heart 

■ George Brent is another prize-win- 
ner owner — he has one of those 

huge, soulful-eyed, Doberman Pinschers. 
So George, in order to give his dog the 
manners befitting his position, sent him 
to one of those dog-training schools. For 
a month. And when that month was up, 
the hound was so glad to be home, he 
immediately tore up a pair of George's 

Doris Weston, voluptuous newcomer 
of Warner's, has a table for one to 
watch golfers ,it the Lakeside Club 


■ George Raft has no illusions about 
the screen life of an actor. He 
knows that some day his pictures just 
aren't going to click, and against that 
day, George is preparing himself. He 
spends all his spare time at the studio 
studying to be a director. Right now he 
is studying in the art department and 
from there will find out what really goes 
on in the cutting-room. 

Hobnobbing With The Queen 

| There's a mother in Hollywood who 
admits it is very nice that her small 
daughter had a chance to visit Shirley 
Temple — but wishes she hadn't been so 
enthusiastic about it. 

This little girl, with two others, was 
standing outside the Temple gate, hoping 
for a glimpse of Shirley. Shirley saw 
them — and always anxious for some one 
to play with — invited them to come in. 

The afternoon was spent in Shirley's 
playhouse at the edge of the swimming- 
pool, looking at her dolls and playing 

Just as they started to leave, the idea 
of playing with Shirley got the best of 
one little girl, and she jumped into the 
swiiiming-pool — clothes and all. She 
came up, looked around, and shouted to 
her playmates : "Come on in kids — 
you'!' never get this chance again!" 

Loud Pedal Now 

■ There's another happy kid in Holly- 
wood. He's Ronald Sinclair, the 

child actor. Ronnie has lived in apart- 
ments all his life, and has always had to 
be careful not to make too much noise. 
The other day, he moved into his first 
house — and spent the entire morning 
running from room to room shouting at 
the top of his voice. 

An About Face 

■ Dick Powell hasn't got over it yet. 
It happened in Chicago. 

You remember last time Dick went 
there on personal appearances — he was 
fairly mobbed for autographs. And so 
it was with a little fear that last week, 
when he and Joan Bloridell arrived there 
for another appearance, he saw about 500 
fans waiting for him at the station. But 
what he is trying to puzzle out is this — 
instead of asking him and Joan for their 
autographs — the president of his fan club 
presented him with a book containing the 
pictures and autographs of the members 
of the club ! 


■ Every afternoon Allan Jones treats 
his fellow workers to malted milks 

which he makes at the soda-fountain he 
rigged up in his trailer-dressing room. 

For A Pal 

IB Proving again what a swell gal she 
is, Joan Crawford broke her rule of 
not working after six o'clock. Joan 
learned one afternoon that the next day 
was an important anniversary in the 
Spencer Tracy household. So that 
Spence might have the day off, Joan 
worked until eleven o'clock that evening. 

'is 'ome in 'ollywood 

■ Bob Taylor is in England— 6,000 
miles away from the ranch where 

his new house is being built. So three 
times a week, Ed Marin, Bob's director 
friend at M-G-M, sends a photographer 
out to the house to take pictures of the 
construction — then sends the pictures on 
to Bob so he'll know where he is going 
to live when he comes home. 


■ Many a Hollywood party has been 
spoiled when two of the "best- 
dressed gals" appeared wearing the same 
model. And it was nothing but Norma 
Shearer's tact and friendliness that saved 
an embar- [Continued on page 89] 

Farm papers please copy. Down thar 
in lower acre Farmer Lombard milks 
a cow. Isn't she on the wrong side? 

The foreign invasion of Holly 
wood goes on apace. Here are 
two newcomers, Luli Deste (left) 
of Vienna — now working in her 
first American opus, / Married 
an Artist; Dolly Haas (below) 
of Vienna and Berlin — who will 
pick a good plum from the Co- 
lumbia lot, and Heather Angel 
(lower left) of England who has 
been over here for several sea- 
sons — and who has endeared 
herself to American fans. She 
is seen as a girl charged with 
murder in Republic's Portia on 
Trial. All three have charm and 
chic, plus beauty, brains, per 
sonality an' that standby — S. A. 
Could you ask for anything more? 

[ S T t 




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Mrs. Roosevelt with her hunter, Nutmeg. 

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Women who U6e it say its regular 
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Essential to skin health 

Within recent years, doctors have learned 
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Pond's, Dept. 6-CO, Clinton, Conn. Rush special 
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When Answering Advertisements, Please Mention February MOTION PICTURE 






The blue-eyed and fair-haired Alice, 
who recently married the boy friend, 
Tony Martin, steps back to the days 
when Mrs. O'Leary's cow kicked over 
the lamp In Old Chicago and set the 
town on fire. The coiffure worn by 
Alice in old Chicago days is more or 
less in favor today. Let the fire rage, 
it's nothing but smouldering embers 
compared to the love torch carried 
by Alice and Tyrone Power here 

Trick Parties 

MOST-Original-Party of the month was the 
"Moving Out" party given .by Ernest and 
Mary Jane Truex. . . . The Truexes have just 
completed a brand new home in Hollywood; they 
want to celebrate, but didn't want to ruin the 
newness of their home with a house-warming. So 
the night before they moved, they had a moving 
out party at the old house. . . . The game of the 
evening was an old-fashioned spelling bee, and 
the word that stumped the Hollywood guests was 
none other than "innocence"! . . . Those who 
were spelled down included Grace Bradley and Bill 
Bovd. Marian Marsh and Al Scott, the Walter 
Pidgeons, Claire Trevor and Wilmer Hines. 

FRANK McHUGH came forth with the party-for- 
the-goofiest-reason. Frank has just added a sound- 
proof music room to the North Hollywood home. 
And to prove whether or not the room really was 
sound-proof, Frank invited fifty of his men friends 
to a stag party . . . The contractor should be given 
a prize for that room because from the outside you 
couldn't hear a peep of the reveling of such fun- 
sters as Ted Healy, Hugh Herbert, Ralph Morgan, 
Jimmy Gleason, Bert Wheeler, Andy Devine and 
all the other comedians in Hollywood. 



time to save 

VX7HEN a fellow only gets a d 
" ' spending money it takes a long 
enough to give a party. But this didn't stump 
Freddie Bartholomew when he wanted to entertain 
for his Aunt Cissie on her birthday. . . . With 
exactly three dollars and fifty cents cash, Freddie 
took his aunt out for the evening. After dinner 
which they ate in their car at one of those outdoor 
drive-in eateries, they finished the evening with a 
trip to the neighborhood movie house. 

THE piece-de-resistance at the most recent in- 
formal dinner party at the Franchot Tone's was 
a chafing dish of kidney beans, green peppers and 
cheese which Joan created from an old recipe handed 
down from Franchot's grandmother . . . The eve- 
ning was spent with the usual movies in the Little 
Theatre. Those who ate Joan's cooking and viewed 
two Charlie Chan movies and a Mickey Mouse in- 
cluded Barbara Stanwyck, Cesar Romero, Helen 
Craig, John Beal and Jerry Asher. 

•"PHE completion of a picture is always an incen- 
A tive for the star to. give a party for cast and 
crew. . . . Glenda Farrell's "lay-off" party cel- 
ebrated her latest Warner picture. The members 
of the cast all gathered 'round at Glenda's home 
in their old clothes and spent the evening playing 
"smack the cracker." If you've got a strong 
head — here's how it's done: . . . Two players are 
blindfolded, and you manage to make a cracker 
stick in the bandage at right angles to their fore- 
heads. The players stretch out on the floor, full 
length on their stomachs, each with a rolled-up 
newspaper in his hand. Then they go to it and 
smack — the fellow who breaks the other players' 
cracker first is the winner. . . . Gordon Oliver 
was champion smacker at Glenda's party while 
Joan Blondell, Le:h Ray and Jerry Wald were 
among those who got smacked. 

LIFE of the Bill and Mary Gargan party at Palm 
Springs was Frank Morgan . . . The party — 
in celebration of Mary's birthday — finally drifted 
into one of those throat-lumping, old-time song 
fests, with Frank Morgan surprising everyone with 
his rendition of 1890 ballads. 

TO CELEBRATE the first anniversary of her 
■^ break into pictures, Lana Turner entertained 
with dinner and dancing at the Trocadero — but 
not before she had taken all her guests to a small 
cafe-soda-fountain called the "Tops" and treated 
them to ice-cream sodas! . . . Sounds crazy doesn't 
it? — but you see, it was while Lana was drinking 
a soda in that same cafe, right across from Holly- 
wood High, that Billy Wilkerson, Hollywood pub- 
lisher and owner of the Trocadero, asked her if 
she had ever thought of a screen career. And 
from that conversation with Billy came Lana's 
contract with Mervyn LeRoy. . . . Among the 
soda-drinkers were Anne Shirley and husband, 
John Payne, Carole Stone. Jackie Coogan and 
Betty Grable, Tom and Natalie Brown, Dixie 
Dunbar — and a dozen or so more of the younger 
Hollywood set. 

TV/I" OST-TALKED-OF party decoration of the 
*-**- month was the centerpiece at Dorothy Peter- 
son's informal dinner ... In a nest of purple grapes 
rested three brightly polished egg plants! The color 
scheme was further carried out in the hyacinth-blue 
lepers and glass ware. 

His toiotutf/tS uraSUfcS Ua4 me wjumst^C ca&€, 
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cufecf t(W! $Vi ScGJ? ukx$ £o tiaqfl \t&^T 

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Accept No Substitutes! Always Insist on the Advertised Brand! 

Charlie McCarthy's Advice to 
the Lovelorn 

[Continued from page 35] 

"The first step," he was saying, "is know- 
ing how to tell the Real Thing. There's a 
vast difference between flutters and flame." 

"Flutters and flame, Charlie?" said 

"Certainly," said McCarthy. "That girl 
who serves soup over at the studio — she 
gives me flutters. But Dorothy Lamour — 
ah, that's flame! 

"Sometimes, though, it isn't so easy to 
tell. So I've worked out a test. It's a good 
one if I do say so. And it works in all 
climates. Here it is : 

"If you feel poetry coming on every time 
you see her — 

"If things go black when you think of her 
in another man's arms — 

"If you can get a glow at 9 A. M . when 
she hasn't her eyelashes on yet — THAT'S 

Lovm % 

"But if you can laugh at the thought of 
her darning your socks — that's infatuation. 
Skip it." 

THE test for the ladies is based on the 
same premise, Charlie explained. Do 
you want to darn his socks ? Etc. Etc. Etc. 
"As I said to Nelson Eddy (he's using 
my system, you know), I said 'Nelson, my 
boy, it's all in the Approach. Making every 
girl feel important, that she is the Only One 
in your life.' And he said, T think you've 
got something there, Charlie.' I know darn' 
well I have. Carole Lombard and Dorothy 
Lamour, for instance. 

"You've got to challenge a woman's in- 
terest. Be subtle. Offer to treat her occa- 
sionally. ... By the way, Jerry, how about 
having a lemonade?" 

I was beginning to understand many 
things ; what the lovely Lamour had meant, 
for example, when she was in the midst of 
that clinch scene with Jon Hall in The Hur- 
ricane. She looked right up at the six-foot 
Adonis from Tahiti, one of the screen's 
newer heart-throbs, and told him : "I can 
play this scene well if I close my eyes and 
imagine you're Charlie AlcCarthy !" 

That's what comes of having a technique 
like the little maestro's ! 

"Oh, these cardiac disturbances are so 
polymorphous," he sighed. 

Edgar Bergen shook his head sadly. "He's 
been like that ever since Northwestern Uni- 
versity gave him an honorary degree in 
speech. You can't understand him." 

"That's what you think," said Charlie. 
"Clark Gable understood me plenty. Oh, 
my, yes. When we met at the broadcast the 
other Sunday, don't y'know. . . ." 

"And how did you handle that situation ?" 
I queried. "Meeting your deadly rival for 
Carole Lombard's affections?" 

He chuckled reminiscently. "I used di- 
plomacy. I alwa3 r s do. It never pays to fight 
it out — unless you're bigger than I am. . . . 
"I must say though, I was very generous 
in giving Clark pointers. I said, 'Clark, if 
you want to get somewhere as a romantic 
figure, you've got to dress the part. Look at 
me. When I was a newsboy in baggy pants 
where did I get? Absolutely nowhere. But 
when I took to white tie and tails — !' 'Yes,' 
said Clark, 'but don't you object to being a 
tailor's dummy?' 'Bergen is no tailor!' I 
shot right back at him. You have to keep 
these rivals in hand." 

There's more to this art of romance 
than meets the eye, according to Charlie. 

A man should choose the girl to match his 
mood just as he does his suit. "For example," 
he declared, warming up to his subject, "for 
a collegiate evening I'd select a peppy 
checkered number and Ginger Rogers — or 
Carole Lombard. 

"Then supposing I wax philosophical and 
witty. I can't imagine anything more fitting 
than a navy blue tuxedo and Myrna Loy — 
or Carole Lombard. 

"For that candlelight-and-thou mood. . . . 
A gardenia, top hat and Marlene Dietrich. 
Oh, definitely Dietrich — or Carole Lombard. 

"The next step (and it's one that the 
American male often slips on) is : If you're 
romanticizing, romanticize ! Forget business. 
Now you take the case of Oscar. That was 
really sad. Oscar was in the nuts and bolts 
business. A very promising young man until 
he fell in love with Delia. He'd never been 
to college so he knew nothing about women. 
One evening Delia slithered up to him on the 
swing and said with that Moist Look, 'Oh, 
darling, tell me about yourself.' 

"And the poor sap did. He told her all 
about the itzy bitzy bolts and the big ones, 
about how many nuts he had to handle every 
day and how many were required to make 
a state institution. He even told her how 
crazy he'd been about nuts and bolts as a 

" 'You're screw}',' said Delia, and shoved 
off. That was the last he saw of her." 

OSCAR and Delia. That's case 435 A in 
the McCarthy files. And the answer's 
so simple, says Charlie. When a girl pulls 
that "tell-me-about-yourself" line on him, he 
just murmurs sadly, "Oh, I was cut off early 
in life and simply lumber-ed along. Now 
let's talk about you !" 

The fine hand of the old master at 
work. . . . 

"Oh, Robert Taylor's a smooth worker, 
too," admitted Charlie. "And Tyrone Power 
isn't so bad. Only he's skating on Thin Ice, 
so to speak." 

"Yes?" I said. 

"Oh, yes, yes, yes, yes. Doesn't even see 
the sign, Danger: Love at Work!" 

"How is that ?" 

"Well, he's Between Tzco Women, isn't 
he?" said Charlie. 

That had me. Tyrone, Sonja Henie, 
Janet Gaynor . . . Hollywood's most pub- 
licized triangle. 

"What do you do in a case like that. 

"I'd square it," he said quickly. "Bring 
in a third lady, you know. Personally, I'd 
go West myself!" 

THE McCarthy System is to talk your 
way into love. Don't write, telephone. 
And use a bit of the Continental touch. "I've 
done very well with it myself," he said. "A 
crushed spray of lilacs for remembrance — 
instead of roses (they're so expensive at 
this time of year.) Soft music in some out- 
of-the-way restaurant. Be the boulevardier 
without a bun on, A knight errant with a 
swing time hot foot. Ply her with soft 
words . . . 

"Why over on the Goldwyn Follies set 
where I'm spending most of my time now 
you get a perfect example of what I mean. 
There you have glamorous girls galore. 
Other men hail them with 'Hi toots ! How 
ya doin' ?' But I — I say 'Good morning, 
my dear. Now I know why the day is so 
beautiful !' 

"And what fellow do you suppose gets 
the most attention around there?" 

Woodpecker (from the tree tops) : 
"Edgar Bergen !" 

Charlie sniffed. "Don't mind him. Mind 
me. And now, Jerry, what about that 

How to win against 






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If your general health is good, then your 
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When Answering Advertisements, Please Mention February MOTION PICTURE 


PERHAPS you've watched her per- 
form, this Michigan girl whose figure 
.skating made her known. But you've 
never had the chance to learn, as you 
will here, of the thrilling and danger- 
ous romances that her public didn't 
know about. Read her story in the 
together with: 






Side of the Story 

Every one an intimate disclosure of 
true-life romances. 





■ ft i i j 



W^ -W2a 



In Submarine D-l, both Wayne Morris 
and Pat O'Brien love Doris Weston 

Second Honeymoon — AAA — Here is a comedy 
r< niance with Tyrone Power and Loretta Young 
that is packed with sex, sentiment and snappy 
dialogue. The title tells the story. Tyrone and 
Loretta enjoy a second honeymoon when their 
divorce fails. The interlude is deliciously delight- 
fid and the new team-mates make a gay team. 
Deserving applause also are Marjorie Weaver, 
Stuart Edwin. I.yle Talbot, Claire Trevor and 
J. Edward Bromberg. — 20th Century-Fox. 
Manhattan Merry-Go-Round — AAA — This has 
everything and everyone . . . Harlem hoe-down, 
cowboy yodelling, operatic arias, gangster thrills, 
Cab Calloway and his orchestra, Ted Lewis and 
his boys. Kay Thompson and Ensemble, Louis 
Prima and his band, Max Terhune, Joe DiMaggio, 
Gene Autry and Smiley Burnette. Also Ann 
Dvorak, Phil Regan. Leo Carrillo, James Gleason, 
Henry Armetta, Luis Alberni and Tamara Geva. 
If this has made you dizzy, wait till you see 
Manhattan Merry-Co-Round. And you should see 
it. — Republic. 

Submarine D-l — AAV2 — This might have been a 
gripping drama if it weren't for the weakness of 
the plot. However, the undersea shots are spec- 
tacular and thrilling and will ap*peal greatly to 
male audiences. To please the gals there is 
romance and three sex-appealers — Pat O'Brien, 
Wayne Morris and George Brent, with Doris 
Weston taking care of the love interest. Appealing 
to both male and female is Frank McHugh, who 
scores with a grand performance. — Warner Bros. 

Some Blondes Are Dangerous — AAV2 — A fight 
picture with dialogue, story and acting so clever 
that you will be kept on the edge of your seat from 
beginning to end. The picture packs the same punch 
that Noah Beery, Jr.'s hard-hitting gloves do — ■ 
the gloves of a hard-boiled fighter who is built up 
to championship by the clever handling of his 
manager, William Gargan. The prizefighter's 
ladies are Nan Grey and Dorothea Kent. — 
U niversal. 

High Flyers — AA'/ 2 — If you are a Wheeler- 
Woolsey fan be sure and see this because it is 
probably their swan song to films as a comedy 
team. However, it has other merit, particularly 
Lupe Velez who does her stuff. She not only 
sings and dances but does some grand imitations 
of her fellow stars. You'll like the gags. — RKO- 

Murder In Greenwich Village — AAV2 — Amusing 
dialogue and a novel story makes this blending of 
murder and love an entertaining film. Fay Wray 
and Richard Arlen head the cast and they are 
supported by Raymond Walburn, Wyn Cahoon, 

Preview The Big Hit Movies! 

Enjoy all the coming big 4-star movies 
before your local theatre shows them. Over 
250,000 enthusiastic fans do just this every 

In MOVIE STORY Magazine you will 
find thrilling story versions of all the new 
hits, each story generously illustrated with 
pictures from the film. 

This month you can preview Mannequin, 
starring Joan Crawford and Spencer Tracy; 
Sally, Irene and Mary, with Alice Faye, 
funny Fred Allen, and many other fav- 
orites; Gladys Swarthout's coming picture, 
Romance in the Dark; Fredric March in 
The Buccaneer. The February MOVIE 
STORY is a fifteen feature show, and 
every picture on the program is a hit! 
Better go to your nearest newsstand and 
get a copy of MOVIE STORY now. It's 
only 10c. 

on the 

brief Review 

of the 

Recent Releases 



Scott Colton, Thurston Hall, Marc Lawrence, 
Gene Morgan, et. al. It's, worthwhile. — Columbia. 

Sh! The Octopus — AAV2 — This doesn't make 
sense but it does make you laugh, and who isn't 
ready for a laugh. So go and see Shi The Octopus, 
it's laugh-proof. Hugh Herbert and Allen Jenkins 
are a new team and you will roar at their mad 
antics. Either one of them is always good for a 
laugh, but together there's no holding them. — 
Warner Bros. 

The Lady Fights Back — AA'/ 2 — Plenty of action 
and laughs, plus beautiful outdoor scenes makes 
this one of the "must see" class. Kent Taylor 
and Irene Hervey have battles galore over a river 
which has been the exclusive preserve of a fishing 
club operated by Miss Hervey. Mr. Taylor, an 
engineer, butts in on the peaceful scene when he is 
commissioned to build a dam on the site. They 
start off fighting each other but how they love each 
other in the end. — Universal. 

Danger Patrol — AAV2 — The title is derived from 
the name given the heroic handlers of nitro- 
glycerine which is used for fire-fighting and well- 
drilling in the Texas oil fields. It's a dangerous 
game and the result is a suspenseful thriller. The 
capable cast is headed by Sally Eilers, John Beal 
and Harry Carey and Frank M. Thomas, Edward 
Gargan and Lee Patrick excel in the supporting 
cast. If you want stimulation be sure and see 
this.— RKO-Radio. 

Hot Water — AAV2 — The Jones Family enter 
politics in the most recent of this popular series, 
offering entertainment for all members of the 
family. John Jones, the headman of the family, 
runs for Mayor and his young son helps the 
election by publishing a sensational sheet, giving 
the "inside" on the present mayor. The cast is 
familiar — Jed Prouty, Shirley Deane, Spring 
Byington, Russell Gleason and Kenneth Howell. 
It packs a fair punch. — 20i/i Century-Fox. 
The Barrier — AAV2 — Rex Beach's tear-jerking 
melodrama of the northlands is out-standing for 
the performances of Leo Carrillo and Robert 
Barrat as the characters of Polcon Doret and John 
Gale. The romance between the half-breed Indian 
girl and the young army officer, the victims of 
The Barrier, is portrayed by Jean Parker and 
James Ellison. — Paramount. 

Under Suspicion — AA — This offers a large cast of 
talented players, a number of whom are under 
suspicion for the attempted murder of Jack Holt, 
a capitalist who wants to quit big business and 
turn his interests over to his employees. His 
plan is frustrated and this turns into an exciting 
mystery. Purnell Pratt scores as the detective 
who tracks down the potential murderers. Others 
in the cast are Katherine DeMille, Granville Bates, 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

Second Honeymoon, reviewed here, co- 
stars Loretta Young and Tyrone Power 

Morgan Wallace, Craig Reynolds, Luis Alberni 
and others too numerous to mention. — Columbia. 
Thrill of a Lifetime — AA — An entertaining floor- 
show variety type of film with The Yacht Club 
Boys, Judy Canova, Ben Blue, Johnny Downs and 
Eleanore Whitney. The romance is handled by 
Leif Ericson and Betty Grable-. _ The plot is thin, 
but the music, dancing and singing pleasing. — 

Big Town Girl — AA — Here is a neat little story 
on how to build a star. Claire Trevor, plugging 
songs in a local music house is discovered by Alan 
Dinehart who press-agents her into stardom. It's 
understandable and real and fairly enjoyable. 
Donald Woods is the boy-friend. — 20th Century- 

Trouble At Midnight — AA — A gang of gangsters 
spell trouble at midnight to the dairy farmers of 
Illinois by doing a little cattle rustling with the 
aid of fast trucks. The human interest is injected 
through Larry Blake, a tough truckman, who turns 
against his gangster pals to protect the farm of 
Noah Beery, Jr., the kid brother of his dead buddy. 
There's also romance — Berry and Catherine 
Hughes and Blake and Bernadene Hayes. — 

Boots and Saddles — AA — This is no horse opera 
but a thrilling Western with a punch. The inci- 
dental ballads by Gene Autry are interspersed 
subtly and highly pleasing. Judith Allen adds the 
necessary love interest and there's a grand horse 
race for excitement. — Republic. 

Blossoms On Broadway — AA — A fine cast goes a 
long way towards saving this old and familiar 
story. The plot concerns Edward Arnold's and 
Shirley Ross' attempt to extort money from 
"Death Valley Cora" who comes to New York 
for ear treatments. A few musical numbers en- 
liven the dreary tale and the talents of Weber and 
Fields and Rufe Davis keep the picture moving at 
a fair pace. — Paramount. 

A Bride for Henry — AA — Anne Nagel, Warren 
Hull and Henry Mollison in a triangle that is 
different and fairly amusing. And Warren Hull 
surprises with a pleasing voice. You'll be enter- 
tained with this. — Monogram. 

Don't Miss 

any of the following important pictures, 
previously reviewed in this magazine, if 
you can help it: The Life of Emile Zola- — 
A great production with a great artist lends 
greatness to Warner Bros.' picturization of 
France's great story-teller. Paul Muni in 
the title role is magnificent. . . . Stage 
Door — Sparkles with smart dialogue and 
tells a very human story. Katharine 
Hepburn and Ginger Rogers share stellar 
honors. If you liked the play you will like 
this even more. . . . The Firefly — Friml's 
beautiful operetta is magnificently mounted 
and Jeanette MacDonald and Allan Jones 
give fullest expression to the tuneful melo- 
dies. It's very colorful. . . . The Awful 
Truth — The truth, the whole truth and 
nothing but the truth, so help us, is that 
The Awful Truth is the comedy hit of the 
year. Irene Dunne and Cary Grant co-star 
in this and you'll howl and scream with 
laughter at their goings-on. . . . AH Baba 
Goes To Town — Tuned as a musical it pos- 
sesses a swell story, rich in satire poked 
good-naturedly at the New Deal. And Eddie 
Cantor goes to town and entertains you in 
his inimitable style. . . . Ebb Tide — Robert 
Louis Stevenson-Lloyd Osborne's adventure 
story of the South Seas in Technicolor. 
The effect is breathtakingly beautiful. 

* 1st STEP 
Mixing takes a minute. 

2nd STEP 

Applying takes a minute. 

l.HIS beauty-wise girl knows 
that popularity goes hand-in-hand with a clear, 
lovely, glowing complexion. 

She protects and beautifies her skin with the new 
Link Magic Milk Mask. It costs her almost nothing, 
yet keeps her face looking soft and smooth — lively 
and vibrant. It's ever so easy to enjoy this marvelous 
new home beauty treatment. While simple to apply, 
it's almost magical in results! 

*Simply mix three tablespoons of Link (the same Linit 
that is so well known as a Beauty Bath) and one tea- 
spoon of cold cream with enough milk to make a nice, firm 
consistency. Apply it generously to the cleansed face and 
neck. Relax during the twenty minutes it takes to set, then 
rinse off with clear, tepid water. 

HOW FIRM — how clean your skin will feel ! The gentle 
stimulation the mask gives your skin induces the facial 
circulation to throw off sluggish waste matter and heightens 
natural bloom. This is an 
excellent "guide" to proper 
make-up, as the bloom in- 
dicates where your rouge 
should be applied. The Linit 
Mask also eliminates"shine" 
and keeps your make-up 
looking fresh for hours. 

Rinsing off completely. 

When Answering Advertisements. Please Mention February MOTION PICTURE 

Your grocer sells Linit 


"I Couldn't 

the Torture I 

An affliction I had to bear in 
silence, it was so embarrassing! 

IS THERE anything more painful than 
Hemorrhoids, or, more frankly, Piles? 

The suffering is well nigh inexpressible and 
the sad part of it is that, on account of the 
delicacy of the subject, many hesitate to seek 
relief. Yet there is nothing more crushing or 
more liable to serious outcome than a bad 
case of Piles. 

Yet blessed relief from Piles of all forms is 
found today in the treatment supplied in Pazo 
Ointment. Three-fold in effect, Pazo does the 
things necessary. 

3 Effects 
First of all, it is soothing, which relieves sore- 
ness and inflammation. Second, it is lubricating, 
which makes passage easy and painless. Third, 
it is astringent, which tends to reduce the 
swollen blood vessels which are Piles. 

Pazo comes in Collapsible Tube with Detach- 
able Pile Pipe which permits application high 
up in rectum where it reaches and thoroughly 
covers affected parts. Pazo also now comes in 
suppository form. Pazo Suppositories are Pazo 
Ointment, simply in suppository form. Those 
who prefer suppositories will find Pazo the 
most satisfactory as well as the most economical. 

Try It! 
All drug stores sell Pazo, but a trial tube (with Pile Pipe) 
will be sent on request. Mail coupon and enclose 10c 
(coin or stampsko help cover cost orpacking and postage. 



Dept. 18-F, St. Louis, Mo. 

Gentlemen: Please send trial tube Pazo. I enclose 

10c to help cover packing and mailing. 




This offer is good only in U. S. and Canada. Cana- 
dian residents may write H. R. Madill & Co., Gi 
Wellington Street, West, Toronto, Ont. 


on the 


who gives the answers to who's who and what's what in Hollywood 

Q. What is the difference between a dis- 
solve and a fade-out ? 

A. A dissolve is made by super-imposing 
one scene upon another, the new scene 
gradually overpowering the preceding one, 
thus insuring continuity of thought and 
action. A dissolve continues one action 
sequence into another without requiring 
numberless feet of film to 
record each step in the 
transition. A fade-out is 
the cinematic period. It 
signifies that one particu- 
lar scene is finished and a 
new one must be begun. 
It is the same as dropping 
a curtain to finish an act 
on the stage. It consists, 
literally, of fading out the 
end of a scene; it gener- 
ally runs three feet of film 
in length, and is accom- 
plished by chemically fad- 
ing the film, by reducing 
the brilliance of lights on 
the set, or by gradually 
'irising in' the camera lens. 

Q. How much is an 
average light bill for a 
motion picture studio? 

A. All the studios gen- 
erate some electricity in 
their own power plants. 
Most of them pay a flat 
rate in the neighborhood 
of #1.25 an hour for the 
light they buy. And they 
have to pay this #1.25 
whether only one bulb is 
burning or the whole stu- 
dio is lighted. 

Q. Did Ernest Truex 
ever play in silent pic- 
tures ? 

Newcomer Gloria Young- 
blood of Alton, 111., is half- 
Indian. Her mother is Ger- 
man, while her father is 
a full-blooded Cherokee 

A. Yes. In July, 1913, 
this smallest adult film player (he's only 5 
feet 3 inches tall) played the leading role 
opposite Mary Pickford in The Good Little 
Devil. A few years later, in Vitagraph 
pictures, he played with Shirley Mason, 
Louise Huff and Dorothy Kelly. 

Q. How many foreigners are registered 
as extras in Central Casting? 

A. There are 300 South Sea Islanders; 67 
Koreans and Indo-Chinese; 738 Italians; 93 
Turks; 165 Russians; 600 Chinese, counting 
babies; 119 Japanese; 197 Arabs, Egyptians, 
Kurds and Armenians; 300 East Indians 
and 17 American Indians. There are very 
few Germans, Frenchmen and Englishmen. 

Q. Why do studios and places like the 
Westmore Beauty Salon 
always buy hair for wigs 
from European peasants? 

A. For the reason that 
these people come from 
virile stock, and their hair 
is extremely healthy be- 
cause it escapes the con- 
stant heat treatments, 
marcels and wavings to 
which American women 
subject their hair. The 
most valuable hair is 
bought from the natural 
blondes of the Scandi- 
navian countries and the 
price is around #250 per 
head. Wigs made espe- 
cially for stars cost at least 
#500. When they become 
shoddy after a good deal 
of use, they are relegated 
to the character class, and 
after long usage they are 
restricted to long shots. 

Q. Is Gloria Young- 
blood an Indian and where 
was she born? 

A. Her mother is Ger- 
man; her father is a full- 
blooded Cherokee Indian. 
She was born in Alton, 

Q. How much film does 
a studio use up daily? 

A. Major filming com- 
panies, when all is running smoothly, pass 
a total of about 6,000 feet of negative film 
through their cameras daily. 

Q. How old was Barbara Stanwyck 
when she was in the Ziegfeld Follies? 

A. She was fifteen. At thirteen, she was 
working for her living, cutting paper dolls 
and patterns for a fashion magazine. 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

True Confessions from "True 

[Continued from page 30] 

portraying a Scotland Yard detective in 
Class "C" pictures. 

Nobody thought that John was finished, 
but he was slipping in popularity and all 
Hollywood agreed that one good picture 
would put him back where he belonged. 

WHEN Carole read the script of True 
Confession, she spotted a part that 
would fit John like a glove. And, in true 
Lombard fashion, she got out a great big 
bat, stepped up to the home plate, and began 
wielding it for John. . . The result was a 
starring role — the best he has had in many 
a weary moon. 

And when John landed the role, director 
Ruggles knew that he would be dealing with 
the most congenial cast in Hollywood and, 
as a consequence, the location trip to Lake 
Arrowhead was not only highly successful 
in its purpose, but almost became a holiday 
for the entire cast. 

When the company arrived at the lodge 
at Arrowhead, it was almost deserted — the 
summer season was just over and it was 
way too early to attract the crowds for 
winter sports. The lodge was suddenly 
turned into a great hall and the motion 
picture company at once took on the air 
of an informal house party. Of course, 
there was lots of work to be done, but then 
again, the outdoor shots they were making 
required plenty of sunlight and the short 
Fall days gave the company ample time for 
evening diversions and plain old-fashioned 
horse-play. . . It was on one of those even- 
ings that Lombard, famed for her practical 
jokes, received a dose of her own medicine. 

Himself a frequent Lombard victim, Fred 
MacMurray borrowed a dozen flashlight 
bulbs from the photographer. While she was 
eating dinner, Fred got in cahoots with one 
of the bell-boys who let him into Carole's 
room. . . Hastily, Fred exchanged all of 
the regular globes for flash bulbs. 

When Carole returned to her room and 
turned on the light switch there was a 
blinding flash that would have put an ex- 
ploding meteor to shame and sent Carole 
screeching down the hallway. 

IN THE picture Carole plays the part of 
a girl who is a confirmed liar. Carole, 
who is a good girl, and who just can't break 
herself from the habit of lying, plays opposite 
Fred MacMurray, a struggling young at- 
torney, who stands rigidly against deceit 
and fraud and who almost starves to death 
for lack of clients. 

A would-be fiction writer, Carole uses 
her fertile imagination to flood publishers 
with manuscripts despite mounting rejection 
slips. She also uses her imagination to stall 
the butcher and the baker and to paint, 
word pictures to her husband how awful 
they would look starving to death. Carole 
wants to get out and find a job, but Fred 
won't let her. Carole promises she won't 
make any attempts to get work, but the next 
day calls on an old friend of the family who 
has promised her a job. The man turns out 
to be an old "nasty" instead of a friend, 
so Carole leaves in a huff forgetting her 
hat and coat. When she later returns with 
a friend she finds the man shot to death. 

It looks bad for Carole, so she decides to 
plead guilty just to give her husband a 
crack at fame defending her. The case turns 
[Continued on page 59] 


T?naJj0-iip improvement i/i ueabS 

TH/S is what happens when your 
make-up reflects every ray of light. 

SEE the difference with light-proof 
powder that modifies the light rays. 

Luxor powder is light' proof. If you use it, 

your face won't shine. We will send you a 

box FREE to prove it. 

• At parties, do you instinctively avoid 
certain lights that you can just feel are 
playing havoc with your complexion? 
All that trouble with fickle make-up 
will be overcome when you finish with 
powder whose particles do not glisten 
in every strong light. 

Many women think they have a shiny 
skin, when the shine is due entirely to 
their powder! 

With a finished touch of light-proof 
powder, your complexion will not con- 
stantly be light-struck. In any light. 
Day or night. Nor will you have all 
that worry over shine when you use 
this kind of powder. 

Seeing is believing 

You have doubtless bought a good 
many boxes of powder on claims and 
promises, only to find that you wasted 
the money. You don't run this risk with 
Luxor. We will give you a box to try. Or 
you can buy a box anywhere without 
waiting, and have your money back if it 
doesn't pass every test you can give it. 
Test it in all lights, day and night — 
under all conditions. See for yourself 
how much it improves your appearance 
—in any light. See the lovely softness 

and absence of shine when you use 
light-proof powder. See how such pow- 
der subdues those highlights of cheek- 
bones and chin, and nose. 

How to get light-proof powder 

Luxor light-proof face powder is being 
distributed rapidly and most stores have 
received a reasonable supply. Just ask 
for Luxor light-proof powder, in your 
shade. A large box is 55c at drug and 
department stores; or 10c sizes at the 
five-and-ten stores. 

Or if you prefer to try it out before 
you buy it, then clip out and mail the 
coupon below. Don't postpone your test 
of this amazing improvement in face 
powder; sooner or later you will be 
using nothing else. 

LUXOR, Ltd., Chicago 
Please send me a complimentary 
box of the new Luxot LIGHT- 
PROOF face powdet free and 
a Flesh □ Rachel □ Rose Rachel 

D Rachel No. 2 FAW-2-38 

When Answering Advertisements, Please Mention February MOTION PICTURE 


It is nam to oe/ieve t&af 

Feminine Hygiene 

can leso aamfy, easy 



BUT IT IS TRUE. Zonitors, snow-white, anti- 
septic, greaseless, are not only easy to use but arc 
completely removable with water. For that reason 
alone thousands of women now prefer them to messy, 
greasy suppositories. Entirely ready for use, requir- 
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ideal for deodorizing. You'll find them superior for 
this purpose, too ! 

• More and more women are ending the nuisance 
of greasy suppositories, thanks to the exclusive new 
greaseless Zonitors, for modern feminine hygiene. 

There is nothing like Zonitors for daintiness, easy 
application and easy removal. They contain no 
quinine or harmful drugs, no cocoa butter to melt 
or run. Zonitors make use of the world-famous 
Zonite antiseptic principle favored because of its 
antiseptic power combined with its freedom from 
"burn" danger to delicate tissues. 

Full instructions in package. $1 for box of 12 — 
at all U. S. and Canadian druggists. Free booklet 
in plain envelope on request. Write Zonitors, 342 1 
Chrysler Bldg., 
New York City. ' JSgv T\ YVSBTO?: 

Each in individ- 
ual glass vial. 



Hair Was Darkeninq 

But New Blonde Hair Shampoo Brought Back Its 
Rich Golden Beauty and Gleaming Lustre 

Here, at last, is an easy way to bring out the full radiant 
loveliness of blonde or brown hair. Try New Blondex 
Shampoo and Rinse to wash your hair shades lighter and 
bring out the natural lustrous golden sheen, the alluring 
highlights that can make hair so attractive. New Blondex 
costs but a few pennies to use and is absolutely safe. Used 
regularly, it keeps your hair lovely, gleaming with lustrous 
highlights. Get New Blondex today. New combination 
package — Shampoo with separate Rinse — for sale at all 
stores. Buy the large size — it costs less per shampoo. 


MEN behind 
the STARS 

Director of "Dead End" 

A VACATION was responsible for 
William Wyler entering the movies, 
and eventually becoming one of the 
top rank directors. For if Wyler had not 
chanced to visit Paris in the Spring of 1920 
he might still be signing expense vouchers 
and managing his father's department store 
• — a chore which irked him no little. 

Instead, after a few years of directing he 
has achieved an enviable record for really 
fine productions, the most recent being 
Dead End. 

Wyler, who was born in Mulhousen, 
France, is a meticulous, determined and 
patient young man — three requisites that are 
essential to the character of a successful 
director. Educated in Lausanne, Switzer- 
land, and the Conservatoire Nationale de 
Musique in Paris, he developed a keen in- 
terest in art and drama at an early age. 

These qualities were manifested in con- 
versations he had with Uncle Carl Laemmle, 
whom he chanced to meet on that eventful 
vacation, with the result that the movie ex- 
ecutive suggested that, should he come to 
America, there might be a place for him in 
motion pictures. 

for Wyler. Over his 

That was enough 
father's protests he 
sailed to America 
and in a short time 
was working in 
Universal's foreign 
publicity depart- 
ment, and within a 
year he was Laem- 
mle's publicity di- 
rector for all Latin- 
speaking countries. 

BU T peddling 
press notices 
soon lost its glamor 
for Wyler, and he 
looked for new 
fields to conquer. 
There was Holly- 
wood and the 
studios. He had 
written thousands 
of words on pic- 
tures and how they are made, and being a 
member of Universal's organization he was 
practically assured a job on the Coast. 

However, it meant starting at the bottom 
again, and Wyler began his studio career as 
a "prop" boy. He remained in this capacity 
for some time before eventually being ele- 
vated to a position of third assistant director. 
He never used his acquaintanceship with 
Laemmle as a stepping-stone, nor was he 
disheartened at not being promoted faster, 
as he was learning the picture business. True, 
he was getting his education the hard way 

Director Wyler believes in having his 
players letter perfect. He made Joel 
McCrea and Humphrey Bogart re- 
hearse over and over for Dead End 

but that was what he wanted, actual ex- 

Eventually he became a first assistant di- 
rector to Erich von Stroheim, then the king 
pin of Universal's directors. This brought 
him more experience, and after working 
with Stroheim and other directors at last 
reached his goal. 

He was given a megaphone and a picture 
to direct. It was a two-reel Western but it 
was the golden opportunity, and Wyler 
really started with that first opportunity. 
It wasn't long before the calibre of his work 
brought him more important films, five-reel 
horse operas at first, and then the ultimate — 
a full length feature without cactus or sage- 

It was Has Anybody Here Seen Kelly? 
with Tom Moore and Bessie Love. Here he 
had an opportunity to display his ability, 
and from the day the picture was shown 
Wyler's stock began to rise. After that he 
directed several Laura La Plante farces, 
The Storm with Lupe Velez, and Hell's 
Heroes, adapted from Peter B. Kyne's The 
Three Godfathers. This latter film created 
very favorable comment both in this country 
and abroad, and Wyler had finally "arrived." 
Then followed a 
long string of Uni- 
versal pictures, cli- 
maxed by The Good 
Fairy, starring 
Margaret Sullavan, 
which was the last 
film he made for 
this company. In 
the long string 
were comedies, 
dramas and farces. 
Type of yarn made 
no difference to 
Wyler then, nor 
does it today. He 
Cannot tell which 
type he would 
rather direct. All 
he asks is a good 
story and he will 
supply the laughs 
or drama as needed. 
After leaving Universal Wyler went to 
Fox where he directed The Gay Deception 
with Francis Lederer and on the strength 
of this picture, a light comedy, he was signed 
by Sam Goldwyn who was seeking a director 
for These Three, one of the most dramatic 
films of 1936. Wyler's direction of this pic- 
ture taken from the stage play, The Chil- 
dren's Hour, made cinematic history. Since 
then he has stayed under contract to Gold- 
wyn as his ace director, and has been re- 
sponsible for the major portion of Come and 
Get It, then Dodsworth, and Dead End. 


Accept No Substitutes! Always Insist on the Advertised Brand! 

True Confessions from "True 

[Continued from page 57] 

out better than she had expected and fame 
is theirs. Fred has more clients than he can 
handle. They buy a house out in the country 
and everything is lovely until John 
Barrymore appears on the scene. 

Previous to his appearance in Carole's life, 
John is seen as an old crack-pot who never 
misses a day at the trial. A n y h o w, 
Barrymore gets the idea that he should get 
in on part of the fame and fortune enjoyed 
by Carole and Fred. So he decides, because 
he knows who the real murderer is, to 
blackmail Carole. 

Fred comes in on the scene and finds that 
Carole didn't commit the crime, so he starts 
to leave in a huff. ' 

As Fred stalks out she calls to him gently. 
If it's a boy, she'll name it after him, she 
says. Fred gulps and his eyes are tender. 
Why didn't she tell him? What did the 
doctor say ? Whcn's it going to be ? Carole, 
trapped in one of her lies again, lowers her 
eyes. But as Fred snorts in disgust at 
having been a sucker again, she reminds 
him that it could be true. Fred eyes her 
narrowly and swings her up in his arms — 
and that's the end. 

AND last, but not least, our own contest 
xa. winner, Miss Eleanor Fisher, who won 
the "Miss Typical America" contest con- 
ducted by True Confessions Magazine ap- 
pears in the picture. . . This is Eleanor's 
first effort before a camera. The part is a 
small one, but keep an eye on Eleanor. She 
has a start in pictures one girl in a million 
gets. True Confession is one swell picture! 


With Man-Proof finished, Myrna Loy 
and husband, Arthur Hornblow, Jr., are 
spending their belated honeymoon abroad 

It's MarveBous What a Change Can 
Be Made in a Few Short Weeks 

TT isn't normal to be thin and bony 

■*• so that people consider you gawky 

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your birthright and noticeable lack of it may 

be due to a simple disturbance. 

In many cases this disturbance may be 
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found a way to correct this trouble. Now 
countless women and girls are following this 
way to the attractiveness and charm of 
added pounds of solid healthy flesh. 

A Vital Body Element 

Science now knows that Vitamin B is abso- 
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fact that many modern foods are' lacking 
in this important Vita- 
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If your diet is deficient 
in Vitamin B, you may 
lack appetite and, more 
than that, you don't get 
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do eat. Thus when this 

condition is corrected, the natural build-up 
is so rapid that it's amazing. 

Rich Source of Vitamin B 

A particularly rich source of Vitamin B 
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So if you are thin and look ungainly 
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Watch natural healthy flesh develop. You'll 
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Yeast Foam Tablets are available at 
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When Answering Advertisements, Please Mention February MOTION PICTURE 



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When they bubble up and dissolve, drink the 
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The Glass At 

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This compact little purse-size tube is 
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49 E. 21 St., N. Y. C. 

Car e+ Femin in it y=Bea u t y 

[Continued from page 11] 

skin that is smooth as a kitten's fur and 
softly tinted with make-up, clothes that fall 
in soft, graceful lines are all "musts" for the 
girl who wants to play up her womanliness 
and make it synonymous with beauty. 

IN USING make-up, Loretta follows the 
rule of accenting her eyes and her mouth, 
both lovely in their unadorned state, but 
because her eyes are so startlingly large and 
her mouth generously proportioned, she is 
careful not to over-do eye and lip make-up. 
She follows the natural lines of her lips in 
applying lipstick, never trying to make the 
upper or lower lip smaller than they are ; 
but she chooses a lipstick that is soft in tone 
rather than flamboyant. A yellow-red shade 
for daytime, that looks well in sunlight, a 
deep rose for evening. In making up her eyes, 

it dissolves the dandruff as well as dirt, then 
whip it into lavish mountains of lather by 
adding warm water. After a shampoo with 
this preparation, your scalp feels like a new 
one — all tingly and clean as a baby's skin — 
and your hair looks as lustrous and high- 
lighted as a movie star's. 

You must be your own judge of how 
frequently to use the shampoo. If your 
hair is oily and over-inclined to dandruff, 
then once a week is not too often ; but other- 
wise, a shampoo once every two weeks 
should keep your hair and scalp in healthy 
and well-groomed condition. For between- 
shampoo treatment, the same manufacturer 
has a hair tonic that stimulates the hair 
roots, keeps dandruff in check and generally 
beautifies your locks. Used faithfully with 
regular hair brushing to complete the trio, 

A page boy bob or high- 
piled curls — with the same 
new rubber end curlers. 
That dollar lipstick in 
luscious tropic tints can 

now be purchased in a 
new 55c size. Lotion your 
hands and nails often and 
keep your cuticle smooth 
with a new special cream 

Loretta plays up her long, fringed lashes b} r 
using mascara for both day and evening but 
is sparing with the use of eye shadow or eye- 
brow pencil. Keeps her brows plucked 
from underneath, to widen the space between 
eye and brow, but knows that a plucked or 
hard line of eyebrow would detract from the 
soft femininity she wants. 

ANY indication of dandruff is as fatal to 
■ an impression of femininity as a deep 
bass voice would be ; so if you want to make 
your hair speak for your loveliness, see to it 
that dandruff is banished. A famous sham- 
poo that will help you do this now has its 
guarantee of removing dandruff with the 
first application backed up by an internation- 
ally famous insurance firm. You massage 
the liquid thoroughly into your scalp, where 

these hair preparations will bring comfort 
and satisfaction for blondes, brunettes and 
red-heads in all their many variations. 

The next step in achieving coiffure beauty, 
after shampooing and brushing, is keeping 
the waves smooth and the ends curled neatly. 
This requires more than a trip to the hair- 
dresser once a week or once every two weeks. 
If your hair is the type that refuses to stay 
in curl long, then you should "put up your 
ends" every day. Once you hit on a con- 
venient, comfortable curler and learn to use 
it skillfully, you won't find daily attention to 
straggly ends at all burdensome. 

Some new curlers that hail from Holly- 
wood are models of comfort because they 
are made from rubber — every single inch 
of them. And they're a light brown color 
that blends quite unnoticeably with most 


Accept No Substitutes! Always Insist on the Advertised Brand! 

hair shades, so that you can wear them 
around the house without feeling like a call 
to arms. The rubber flap that buttons onto 
the end of the curler, fastening the hair 
securely, can be turned over or under, per- 
mitting you to fasten the curl close to the 
scalp. Another nice feature of these rubber 
curlers is that they can be sterilized in boil- 
ing water without harm, and they refuse 
to discolor or corrode through contact with 
moisture. Most inexpensive are these little 
aids to hair grooming. Want the name? 

No one ever claimed that soft white hands 
add to a man's charm and no one ever de- 
nied that they are essential to a woman's. 
So, if you want to be feminine, even when 
skiing or skating, see to it that you guard 
your patties by frequent use of hand emol- 
lients. To be specific, why not try the brand 
new hand lotion that contains the skin vita- 
min found in the same manufacturer's ex- 
cellent facial creams ? Besides this vitamin 
ingredient, it contains a new vegetable oil 
that helps the skin to retain fluids neces- 
sary to keep it moist and smooth, and a new 
type organic solvent that is non-drying and 
non-sticky. The texture of this new lotion 
is very creamy, making a few drops do a 
lot of softening work. It comes in an at- 
tractively simple white bottle, indented in 
the middle for a firmer grasp, with a trick 
dispenser that works as the inventor meant 
it to. Costs 35 cents and comes in a trial 
size at 10 cents. I'll be glad to send the 

BE AS fussy about keeping your nails and 
cuticle lovely as you are about your 
hands. Dry, brittle nails, hardened cuticle 
and hangnails go down in defeat when they 
are combatted daily with a certain fine pink 
cream that is rich in penetrating oils. I've 
been through the factory where the cream 
is made, and I don't wonder that it accom- 
plishes all these tasks, now that I've seen 
the care and scientific research that goes 
into its making. Every ingredient is tested 
severely and the hospital-like atmosphere of 
the laboratory spells purity and precision 
in the manufacturing process. Even though 
your nails and cuticle are in normal condi- 
tion, you should still have one of these smart 
black and white jars on your dressing table 
to keep them that way. It's grand for 
softening hardened cuticle and callouses on 
toes, too. Costs SO cents for a half-ounce 

I'm always delighted to see a favorite cos- 
metic brought out in smaller sizes because 
I realize that more and more women will 
become users. So I gave a couple of editorial 
cheers when I found that an excellent dollar 
lipstick had been duplicated in a 55 cent 
size. The little newcomer — and not so little 
at that— has the same softness and smooth- 
ness, the same permanence, comes in the 
same five shades as its big sister. Even the 
case is a "carbon copy," except for size — a 
silver-metal tube decorated with minute hula 
dancers. If you are forever forgetting to 
transfer your lipstick from dressing-table 
to handbag, here's an inexpensive solution. 
Buy the small size for home use, pack the 
larger one in your purse for keeps. 

Going feminine this season? Want a 
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yourself to Denise Caine, c/o MOTION 
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help you solve your problems. Be sure 
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"Don't Let Hollywood Change You!" Danielle 

[Continued from paijc 26] 

follow one another so swiftly that they al- 
most escape identification. Which are you, 
Danielle? One — or all? You are part child 
and part an experienced woman (of twenty). 
You are all types now. You even look 
like half-a-dozen different people during the 
running of one film. As I watched you on 
the screen I had, every so often, to look 
twice to be sure that you were you. There 
were times when you had such gravity of 
expression that you reminded me of Norma 
Shearer, even to the regularity of feature, 
which is not really yours. 

For yours is a beauty, Danielle, of deli- 
cate, pliable features, with masses of pale 
brown hair, dark limpid eyes, a full, lus- 
cious mouth — a beauty at once demure and 
dangerous, naive and naughty. You can 
even look very plain. At other times on the 
screen you reminded me of Lillian Gish in 
her early days, the same fragility and wist- 
fulness ; again you had the sophistication of 
a Miriam Hopkins whom, you tell me, you 
so admire. 

Yes, you are all types in one. That is 
your greatest asset and your greatest danger. 
For Hollywood has the Hand of the Potter 
and moulds the clay of new talent nearer 
to its heart's desire. And, often, its "heart's 
desire" takes one shape, one form, one set 
of gestures. If you should make a sensational 
hit in your first Universal picture, The Rage 
of Paris, you will really have to be careful 
lest, Hollywood without end, you play the 
self-same role, dressed up with different 
titles, trimmed with a different cast, but 
essentially the same. 

I don't think they'll be able to trap you, 
Danielle, even if they try to. Because your 
emotions cannot be captured. But keep on 
evading being "typed," Danielle, keep on 
being elusive . . . 

You said to me, in front of the log fire 
in your home in Bel Air, the house Chevalier 
once lived in and, later, Miriam Hopkins, 
you said : "I will not be changed unless I 
want to change." That's brave talk and I 
think you mean it. But you should bear in 
mind the changes that Mother Hollywood, 
has made in the young things who have come 
under her sculpturing hand. I don't say 
that they have not been changes for the 
better. For the box-office better. Which 
is, after all, the legitimate objective of stars 
and studios. That isn't the point at all, 
whether the changes have been for the better 
or for the worse. 

You may wonder what to do if you feel 
yourself being fitted into a mould, cut to a 
pattern? Shall I fight the studios, you 
ask? Well, I think that under that mobile 
exterior of yours there is a fighting spirit, 
Danielle. You've proven that. Of which 
more later. But a fighting spirit can be a 
two-edged sword. It can perform operations 
which either kill or cure. There are the 
"lessons" which should be learned when one 
considers Bette Davis and others who have 
fought — and lost. Although Bette really 
made capitol of her loss since, though the 
court verdict went against her, she has had 
better pictures, more variety of parts. 

I said that I think you are a fighter. 
After all, you were a War baby, weren't 
you? Born May 1st, in that torn year of 
1917, in Bordeaux, France, your father 
having to wangle a furlough from the battle 
front to be on hand to greet you. 

I like the courage implicit in that picture 
of you, at fourteen, putting away your cello, 
which was to have been your career, stand- 

ing "him" in "his" corner, saying to him 
"Monsieur Cello, I give you notice that 
your services are no longer required," and, 
with a crumpled newspaper ad in your reefer 
pocket, going to the studio and applying for 
the job advertised . . . the leading feminine 
role in Lc Bal. Previous screen experience, 
read the ad, was not necessary. But, "even if 
they had asked for a successor to Bernhardt," 
you said, "I would have apply' jus' the 

And you are always "prepared," I take it, 
Danielle. You said to me: "I am not so 
afraid of Hollywood, / know my job," — just 
as, when you applied for that first job, you 
had read the book from which the script 
was written and so were able to talk, intelli- 
gently, about the character. Well, you got 
the screen test and — you got the job. And 
after that you got the plaudits of the critics 
and fans. 

When you came home from that first in- 
terview and said to your mother and father : 
"I am now a cinema artist," they were de- 
lighted. Because, unlike the traditional 
parents of fact as well as fiction, they were 
all in favor of your being an actress. You 
told me that your father, Dr. Darrieux, often 
said before his death : "I do not worry 
about the future of Danielle, she will be a 
fine actress." 

You come close, too, to having the theatre 
in your blood, I'd say. For your father, an 
eminent oculist, was also a musician, play- 
ing the piano for sheer love of it ; your 
mother an Algerian, was a singer of profes- 
sional calibre. You came from a musical 
environment, you began your musical edu- 
cation even earlier than did Deanna Durbin, 
only instead of singing, you took instru- 
mental music, concentrating on the cello. 
You first dreamed that you might enter the 
Paris Conservatory and become a concert 
artist. The nearest you ever came to movies, 
or to an interest in movies, you told me, 
was reading the fan magazines. 

Yes, you have courage. You told me that 
you realized it was "the beeg step" to come 
to Hollywood. For if you should not succeed 
here your lustre in Paris would be dimmed. 
But you also said: "I do not worry much 
about what to do, what not to do. Always 
I make up my mind, snap-queek, like that." 
And added: "and so, I come. I come only 
if my husband come with me. He would 
have to attend to the business thing' for me. 
I am no good at the business, the contrac', 
the way the scrip' mus' go, the detail like 
that. He is a playwright, my husband. He 
has written a play for me. He know better 
than I know, what I can do; what is, what 
you call, my 'range.' " 

And while on this subject, Danielle, I'll 
mention here what I didn't mention when we 
were talking — your loyalty. Because I have 
heard tell how practically every major stu- 
dio in Hollywood tried to get you ; how 
Universal, canny, offered your husband, 
Henry Decoin, a job, too — and so you came 
to Universal. 

I think, to go back a bit, that you will 
stand up for what you believe to be right 
for you, Danielle. I also think that you 
have enough of the French sagacity, diplo- 
macy, suavity, to take your stand without 
offense to the Front Office. 

For after you made Lc Bal in France, 
when you were barely fourteen, after you 
were put (an old Hollywood custom, too) 
in as many films in as short a length of time 
as was humanly possible for you to do, you 


Accept No Substitutes! Always Insist on the Advertised Brand! 

realized that you were going- too fast ; also 
that you wanted to do "things more serious." 
You were so gay, so pretty, dressed with 
such inimitible Parisienne chic that the pro- 
ducers cannot be blamed, perhaps, for cast- 
ing you in forty films. 

They overlooked the fact that you are, 
also, "deep," as the better novelists would 
say. So you began visiting the producers' 
offices with weighty tomes under your arm. 
You suggested that they make movies out 
of these volumes. They laughed at you. 
They accused you of "going highbrow." 
They told you not to worry, that you were 
the toast of Paris, what more did you want ? 
But you wanted more, much more. 

I think that your appetite for life is not 
frail at all. And you did worry. You lost 
weight and pep. In 1934 you were in Berlin 
— in a picture with Jan Kiepura. You 
thought, again, that the role was trivial. 
You finally became ill with a serious throat 
abcess and there was an operation which 
might have affected your screen career. 

And then one of those things happened 
which, in absorbing novels, are called a 
"turning point." Edith Mera came to Berlin 
to make a film. They told her, at the studio, 
that a nice French girl, one of her most 
rabid fans (for you always adored her, you 
told me) was in the hospital. Edith Mera 
came to see you. She told you of her own 
struggles ; she left you feeling that nothing is 
final, certainly not at seventeen ! And so 
you finished your picture with Kiepura ; you 
went on to so many successes that the mere 
titles would read like a telephone directory ; 
you did such a variety of roles as to make 
Hollywood shudder at the mere thought of 
trying to type you. 

And then came Romance . . . you were 
cast, you told me, in L'Or Dans La Rue. 
One of the authors was Henry Koster, who 
directed Three Smart Girls, 100 Men and a 
Girl, and will direct you in The Rage of 
Paris (your leading man or co-star has not 
yet been selected when we talked, Danielle, 
but there was fire in your eyes when you 
said you wanted them to get "a beeg star" 
for you and, most especially, you wish that 
they could get Gary Cooper). 

Well, Henry Koster's co-author was play- 
wright, Henry Decoin. And you thought 
that no one had ever written scenes that 
fitted you so perfectly and he thought that 
you were the finest actress he had ever en- 
countered. And you both thought that it 
was just a mutual interest in pictures which 
urged you to call him at four in the morning 
to ask him why he didn't create for you 
such a role as Annabella played in Un Soir 
Do Raflo and which made him call you at 
midnight to ask your opinion of a scene he 
had just banged out on his typewriter. And 
neither of you were getting any sleep and 
both of you, being French and so, thrifty, 
began to think it would be more frugal to 
marry than to have to pay such telephone 

And then you went to Berlin to make a 
picture and Henry went, too, to do the 
adaptation. And after that you never went 
anywhere without each other again. Nor, 
you told me, quite fiercely, "evaire will." 
Don't let Hollywood change your heart, 
either, Danielle. It has quite a way of shift- 
ing hearts about, this Hollywood. 

There is another thing you are up against, 
Danielle : resentment against "foreign im- 
portations." There, is a strong feeling here, 

expressed by our press and radio commen- 
tators, that we have quite enough home 
talent here in Hollywood to cast our pic- 
tures very nicely ; that we should "Buy 
American" when we go a'shopping for our 
stars ; that Americans should be given their 
well-earned chance to show what they can 
do with stardom before the Simone Simons, 
Luise Rainers, Hedy La Marrs, Ilona Mas- 
seys are pushed into the foreground of fame. 
It is the old insular prejudice against the 
"outsider" staking his claim on territory 
which has been faithfully worked by the 
original homesteaders. You will need to 
sidestep this prejudice, Danielle. 

You say that you like parties, like to go 
to them, like to give them, do not intend 
to mingle only with your compatriots and 
friends, the Boyers, the Gravets. That is 
well, I think. The recluse type is patented 
by Garbo and any imitators fare badly. 

You may not need any of the "tips" I have 
bestowed upon you, Danielle. You seem to 
have everything it takes to be a star on the 
screen, a social success in Hollywood. You 
say that you are domestic but "not a house- 
wife, non, non !" You say that you are NOT 
thrifty, as your French blood should make 
you ; that you love emeralds and "so swank" 
cars and luxurious furs and food and wine 
and gardens. You have acquired, you told 
rne, a Swedish chauffeur, an Hungarian 
cook, a Japanese house-boy, a "little league 
of nations in my domicile." And you are 
young and self-confident and experienced in 
your work — and many women in one. . . . 
So I say to you, Danielle : Stay just as you 



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Gene Raymond's girl friend 
in The Life Of The Party 

The Bride Red 

Gladys George's husband 

The Goal 

Grand National (abbr.) 

The Desperado 

— — — Have Our Mo- 



Feminine lead in Counsel 
For Crime 

Of The Town 

The girl in King Solomon's 


First name of Miss Hyams 

Vaughn is often 

cast as a maid 

Capt. Delmar in Love 
Under Fire 

He was The Go Getter 
Sound made by Rex, 
famous film horse 
Initials of Iris Adrian 
Theatre posters, etc. 

He was Richard in Stella 

Mr. Motto looks for these 
to solve a mystery 


Initials of Director New- 

Brian Donlevy's birthplace 

Olivia Havilland 

has feminine lead in The 
Great Garrick 
The villainous banker in 
High, Wide And Hand- 

47. He directed One Mile 
From Heaven 

50. Male lead in A Bride For 

51. She lately has Blonde 


1. Mary Boland's screen 
brother in Marry The Girl 

2. Initials of Miss Pons 

3. He is separated from 
Ginger Rogers 

4. Back Circulation 

Last Month's 






























































































































































Marlene Dietrich's latest 


The girl in SOS Coast 


Willie Winkie 

Double Nothing 

Sabu was Boy 

Date in February on which 
Ronald Colman was born 
Mrs. Rogers in That Cer- 
tain Woman 

What Bergen's pal, Charlie 
McCarthy, is made of 
Star of Charlie Chan On 

Constance in Wife, Doctor 
And Nurse 
He directed 5 Down 


McClelland Barclay, of 
Artists And Models, is 

famous for his 

Brother's Wife 

Fiorello Z.amarelli in 52nd 

Joan Crawford was Sadie 
Thompson in this 
Lynne Carver was formerly 
known as Virginia — — — — 
Her last name is Mac- 

El Brendel generally por- 
trays one in films 
He was Public Cowboy 
No. 1 

It's Yours 


Andy Jones in Saturday's 


Walter Abel's initials 

The Girl Said 


Accept No Substitutes! Always Insist on the Advertised Brand! 

Sothern Exposure 

[Continued from page 29] 

ask, tongue in cheek, "will people say? 
The}' may say you aren't living up to your 
income, in the Hollywood tradition." 

"That," says Ann,, chipperly, "will be 

You think of stars who have thrown for- 
tunes into homes intended as monuments 
of their success. Stars who have had nothing 
left but the monuments when success faded — 
and have lost even those. Stars who have 
spent it when they had it and now, when 
they should be gracefully retired, are playing 
bit parts, despairingly trying for "come- 
backs." You mention some of them, the irony 
of it all. 

Ann is silent a moment, broodingly silent. 
"Yes," she says, finally, "in this game, your 
debts can break you. In any other game, you 
might be able to start all over again and 
recoup everything. But not in this one. You 
have your chance just once. There aren't 
many Marie Dresslers. . . . But — a funny 
thing about debts in this game. They can 
break you. But they can also make you." 

She curls one leg under herself, uncon- 
sciously becoming comfortable while becom- 
ing frank. 

"The debts that break you are the kind 
you can't pay because you don't have the 
money. The ones that make you are the 
kind you can never pay, no matter how 
much money you have. They're intangible. 

"I mean — debts of gratitude. We all owe 
them. We wouldn't be here, if we didn't. 

"But, somehow, those debts never get 
mentioned. For one thing, you can't go 
around talking about them, without being 
accused — rightly — of being a Pollyanna. For 
another thing, on your way up, people see 
you becoming a star and they don't see any- 
body helping you. They get the idea that 
you're self-made, completely and entirely. 
A few may realize that somebody must 
have helped you, somewhere along the route, 
but they think maybe they'd better not ask 
you about it. You might not like it. One 
faction gives you more credit than you de- 
serve. The other suspects you of ego. Be- 
tween them, nobody asks you about your 
Untold Debts. And you never get the chance 
to talk about them." 

HERE is a large chunk of candor from 
a high quarter. Ann Sothern is ad- 
mitting that she never has told the story 
of the unpayable debts she owes. You start 
asking questions that no one has asked her 
before. You start learning things that no 
one has known about her before. 

"I certainly can't thank myself for my 
career," she says, curling her other leg under 
herself. "I didn't have any more to do with 
the start of it than I did with my start in 
life as Harriette Lake. And there's a story 
behind that. 

"My parents didn't know what to call me. 
They settled the question finally by writing 
names on slips of paper, and having friends 

write names, and then having a drawing 
from a hat, with everybody grouped around 
Mother's bed. (She has always said it looked 
like a funeral.) They drew twice. The first 
name was Gertrude. The second, Harriette. 
The only reason why I was named Harriette 
was because my father's best friend at that 
time was named Harry. Cute, what? That's 
how close I came to being 'Gertrude' ! 

"Well, my career was also an accident. 
I was going to the University of Washing- 
ton — and didn't have the slightest idea what 
I wanted to do with my life. I had a vague 
sort of notion that if I ever did anything, it 
would probably be in music. Singing was all 
I knew. That, and playing the piano. And a 
little dancing. But I wasn't a very good 

"There were three reasons why I came to 
Hollywood. First, Mother was here — coach- 
ing voice. Secondly, I was tired of school. 
Thirdly, my father had cut me off from any 
money. If I didn't want to go to school, I 
had to go to work, earn my money myself. 
I came down to get what solace I could from 
Mother. ( She and my father had been sep- 
arated for years.) 

"I had no intention of trying to get into 
the movies. I didn't see myself as a screen 
possibility. I don't think Mother did, either. 
The first person who did — the person who 
started the whole ball rolling — was Sam 
Koenig, at Warners. I owe my first debt of 
gratitude to him. 

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ELEANOR FISHER. ..Paramount Player 




1[ Here is Eleanor Fisher, charming beauty contest winner, who 
came ro Hollywood ro play in Paramount's new picture "True 
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"He happened to be a friend of Mother's. 
He heard that I could sing and dance. He 
offered me a chance as a stock girl. I took 
it. It was something to do, for the time 

"It sounds hammy to say it, but it's the 
truth : I never thought I'd be anything in 
pictures. The first person who gave me the 
idea that I could be was Ivan Kahn. He was 
an agent then ; he's a studio talent scout 
now. I met him through friends. At the 
time, I didn't know what an agent was or 
what an agent did. It still amazes me that 
he saw anything in me. I hadn't done a thing 
at Warners except pose for some girly-girly 
'still' pictures. I didn't know a thing about 
movies. I wasn't any raving beauty. I wasn't 
a sensational singer. And I certainly wasn't 
a dancer. Or an actress. 

"But he saw something that no one else, 
including Harriette Lake, even suspected. 
I can't be grateful enough for that. He took 
me to Paul Bern at M-G-M, interested him 
in me. I was signed by M-G-M as a con- 
tract player. Very few people know that I 
knew Paul Bern. Even fewer know what 
an important part he played in my life . . ." 

She pauses, thoughtfully reminiscent. 
Quietly she says : 

"He was a great man — a really great 
man. His greatness lay in the inspiration 
he gave others. Someone once called him 
'the little Father Confessor of Hollywood.' 
It fitted him. People opened up their hearts 
to him, confessed to him their hopes and 
fears, beliefs and doubts. And he helped 
them. So many have owed their success to 
his belief in them. Barbara La Marr, Joan 
Crawford, Jean Harlow — countless others. 
I am only one. 

I WAS signed by M-G-M primarily as a 
singer. Months went by, and I never 
stepped in front of a microphone or a camera. 
All I ever did was one scene, in mud up to 
my knees, with Buster Keaton. I would 
go into Paul Bern's office, discouraged, 
wondering if I should give it all up. He 
would talk to me. He would encourage me 
to keep on with my singing, even if nobody 
seemed to know I existed. He would say, 
'Some day, Harriette, you will be a star. 
Believe me.' Trying to believe him, I learned 
to believe in myself. No one could ever 
repay such a debt as that . . . 

"Then another accident happened. I sang 
at a party which Florenz Ziegfeld attended. 
He offered me the second lead in his new 
show. I went to Paul Bern and told him. 
He said, 'I will get you a release from your 
contract. You must take this offer. It will 
be a great opportunity for you. You will 
get stage experience. You will become an 
actress.' I took his advice. I've never been 

"I was in my third Broadway show, and 
playing the lead, before I saw Paul Bern 
again. He came backstage after a per- 
formance. He said to me — I'll never forget 
it— 'You've gone only a quarter of the way.' 
My greatest regret is that he couldn't have 
lived to see that his encouragement wasn't 
in vain. 

"Ziegfeld was the first person "influential 
in bringing me to New York and the stage. 
But the immediate result was discourage- 
ment. I didn't seem to 'belong,' any more 
than I had in Hollywood. Or even as 
much. I left the show after four weeks — • 
in Boston, before it ever went into New 

"The second person was Lawrence 
Schwab, the Broadway producer. I was 
on my way back to Hollywood when I met 
him. And he offered me the lead in Amer- 
ica's Szveetheart. The lead, mind you. The 
backers and the authors didn't want me. 

Schwab was the only one. And he was very 
stubborn. 'You're what I want in this part,' 
he told me, 'and you're what I'm going to 

"He had faith in me, at a time when no 
one else did. That set the whole course of 
my life. Anyone who has unshakable faith 
in you is bound to be a great guiding force 
in your life. 

THAT trip East was my first trip to 
New York. Mother was with me. And 
without her I would never have got any- 
where. She isn't a 'stage mother.' She 
never has been. Never in any obvious way 
has she had a hand in anything I've done. 
Yet she has been behind everything I've ac- 
complished . . . I'm awfully stubborn. It's 
one reason, I suppose, why I've got ahead. 
But that same trait might have held me 
back, with anyone else beside me. Mother, 
you see, knew how to handle her first-born." 
Ann smiles in apologetic explanation. "She 
knew that to tell me not to do something 
was the quickest way to make me do it . . . 

"I started on Broadway as an ingenue, 
God help me. Nothing makes me quite so 
mad as to have anyone call me that today. 
You can call me anything else, but not that. 
People have accused me for years of looking 
'untouched by life — like an ingenue.' " Ann 
makes a moue denoting mental nausea. "I'm 
gradually overcoming it — I hope. Really, 
my freedom from wrinkles has been almost 
a detriment." 

As if better to change the subject, Ann 
changes her position, again. (She's a 
squirmer; the epitome of restlessness.) She 
continues : 

"Tom Howard, the comedian, was grand 
to me. He was the first one to teach me little 
tricks of the trade. He had learned them the 
hard way — the way I've had to learn most of 
them since — from experience. In that first 
show, he gave me something I wouldn't have 
had without him : confidence to go out and 
face an audience alone. He thought I had 
the makings of a comedienne. / didn't think 
I'd ever be one. But the fact that he thought 
so made me keep trying. That's all you need 
when you're young and ambitious — encour- 
agement from one source that matters. And 
Tom Howard, on Broadway, decidedly 

"So did Fanny Brice. I met her during 
my second show, Everybody's Welcome. 
Ann Pennington introduced us. Why Fanny 
took an interest in me, I can't tell you. Ex- 
cept that she is a great woman, with a heart 
as big as the Hippodrome ; she wants to 
help everyone. She took one look at me, 
screwed up her face" — Ann screws up her 
own face in unconscious illustration — "and 
said, 'You've gotta change that hair.' It 
was dark red at the time. I took her ad- 
vice. I changed it. She took the trouble 
to help me with my make-up. And make- 
up, I'll have you know, is important. 

"AT THAT time fresh from the open 
■t\ spaces, I was kinda plumpish, with 
roundish rosy cheeks. A sort of California 
orange, round all over. Fanny took a look 
at my shape, shook her head again, and said, 
'Part of that' — you can imagine what — 'has 
gotta come off.' The fact that Fanny Brice 
even noticed me was something. The fact 
that she befriended me, gave me advice — 
well, the least I could do in return was to 
take it . . . 

"Always, to me, the test of whether a 
person is a friend or not is the critcism you 
get from that person-. So many people are 
so foolish about criticism. They resent it. 
I've never been that way — and I find, over a 
period of years, that criticism has been my 
greatest single help ... If Fanny hadn't 


Accept No Substitutes! Always Insist on the Advertised Brand! 

criticized me : if I hadn't taken her criticism 
as she meant it ; if I hadn't made those 
changes— I wonder if I'd be here today ? 

"And that's just one instance. Naturally, 
you have to respect a person's judgment to 
accept that person's criticism. But if you're 
lucky enough to have even one friend whose 
judgment you can respect, my advice is : 
Listen. I've seen too many instances of 
people stupidly discouraging helpful frank- 

"To get frankness, you also have to give 
it. I'm probably frank to the point of step- 
ping in where angels fear to tread. I've put 
my foot in it more than once, because I was 
trying to be helpful — the way I like to be 

"Just the other day, someone said to me, 
'Watch your voice, Ann. You're slurring 
words, getting careless.' Now, I could have 
got awfully mad about that. But I didn't. 
I was glad that someone was enough of a 
pal to catch me up when I did get careless . . . 
No matter who the director of a picture is, 
or the cameraman, I go to them before shoot- 
ing ever starts, and say, 'I have a habit of 
wrinkling my forehead when I talk. I make 
faces, unconsciously. And I want you to 
tell me.' All through the picture, they may 
hound me. But that's what I want them 
to do. 'Hold your stomach in,' the camera- 
man may call, when I'm in a glamorous 
moment — and am I glad ! And am I in- 
debted ! 

WHEN I speak of debts of gratitude, 
I don't think of the people I've paid 
to help me — dramatic coaches, voice coaches, 
dancing teachers. They arc a help, natur- 
ally. But their help has been purchased. 

The important people in my life have been 
the people who have helped me of their own 
free will, and have gone out of their way 
to do so — because they thought I had talent. 

"What gave them that idea, 'even though 
I was an ingenue' ?" she grimaces at the 
word — again. "I don't know. I suppose it 
was partly because I was such an avid kid, 
so eager to learn. I watched everybody ; I 
asked a million questions ; I had insatiable 
curiosity. I still have it. People fascinate 
me. And I have terrific intuitions about 
people. I can pick you out a phoney a block 
away. The funny thing is : 'bitter exper- 
ience' hasn't given me that particular asset. 
I had it as a youngster. And it's come in 
handy. Mighty handy. To get ahead, you've 
got to have it in you, not to be taken in by 
everything — or anything. 

"And don't think I'm a cynic. I'm not. 
I still believe that in this life you only re- 
ceive what you give. 

"And that brings me right up to Roger. 
So many people seem to think of my screen 
career as something that keeps Roger and 
me apart. So few know that, in large part, 
it is something that he has given to me. I 
met him for the first time in 1933, in Chicago. 
I was playing in Of Thee I Sing ; he was in 
There's Alzvays Juliet. I had never done 
drama, which I wanted to do. He had never 
done musical comedy and he was thinking 
then of organizing an orchestra. His ex- 
perience helped me ; my experience helped 
him. He taught me 'timing,' so much else 
that I needed to know. He was more help 
to me than I can ever say. 

"At that time, Felix Young, the Columbia 
producer, was looking for a new actress. 
He heard about me, offered me a contract. 

I didn't want to come back to Hollywood. 
He gave me the chance to do drama. Roger 
gave me the courage to do it." 

YOU ask Ann if it's true, as you have 
read somewhere, that she gives herself 
four more years on the screen. 

"That was a bright effusion from some- 
body in the publicity department. I never 
said, 'I give myself four more years,' or 
anything like it. A statement like that would 
be presumptuous. In this business, you don't 
dictate your future. The public dictates it. 
The public — and your last picture. I'll keep 
going, I hope, until I've accomplished some 
of the things I want to accomplish. And I 
think I'll have the courage to step out when 
I'm at my peak. I hope I'll have the courage" 

"There's no use kidding yourself. You 
can last only so long, particularly if you 
aren't a great star — a Garbo, or a Shearer, 
or a Colbert. But if you step out in time, 
you can still have a future. You can make 
personal appearances. You can go on the 
radio. I'll always have to find something to 
do, have some kind of career. I'm on pins 
and needles after three weeks of not work- 
ing. Roger, fortunately, understands. He's 
in this career business, too. 

"You have to be pretty tolerant people to 
get along, with two careers in the family. 
So far, Roger and I have done handsomely, 
despite our 'long-distance marriage.' But 
I'll never make a statement : 'I've got the 
future all figured out. I know what will 
happen, and what won't. I guarantee this is 
permanent.' In this business, no one ever 
knows what will happen. 

"But" — and she smiles confidently — 
"meanwhile I'm going to build that house !" 

JVew Cream brings 
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Same jars, same labels, same price 

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GUMS and BmHmmm 




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New "It" Girl 

[Continued from page 43] 

when, on a dare, she first stepped inside a 
studio. Neither of them had ever acted 

Now, here was another schoolgirl coming 
to the screen, out of nowhere, visually 
startling the world . . . The press-agents 
weren't prepared. They had eyes. They 
could see Lana's appeal. But they guessed 
she wasn't a subject for ballyhoo — yet. They 
guessed she didn't rate a title all her own. 
They guessed wrong. The public proved 
it. The public cried : "Have you seen The 
Sweater Girl ? . . . Now, there is a girl ! . . . 
The Sweater Girl . . . She's a natural ! . . . 
The Sweater Girl . . . Who is she? Where 
did she come from ? . . ." 

Everyone who saw the picture came away 
talking about the young girl in the opening 
sequence. Without doing anything electri- 
■fying, she was electrifying. Inarticulately, 
people tried to express that, tried to say 
that here was one of the last words in ap- 
pealing femininity. Inarticulately, they 
tried to find words for her. They seized 
upon : "The Sweater Girl." 

It embarrassed the studio. Lana blushed. 
Neither of them had anticipated such a thing. 
And both of them would have to do some- 
thing about it. But, meanwhile, it was 
symptomatic. Symptomatic of the fact that, 
in her very first picture, in a brief role, no 
one had been able to overlook the girl in 
the sweater . . . 

Who is she? Where did she come from? 
What is she like in person? What is her 
story ? 

I DON'T know of any greater test of an ac- 
tress' personal appeal than a walk across 
a studio lot at lunchtime, when the entire 
army of her co-workers, both masculine and 
feminine, is on the loose, going to or from 
the commissary. I walked across the 
Warners' lot with Lana. And it was an 

I've never felt so many eyes looking in 
my general direction at any one time before, 
even with — well, some of the biggest Names 
in filmdom. Was I self-conscious? Yes. 
Was Lana self-conscious? No. Nor was 
she unconscious of all the attention. Only 
she seemed to accept it as friendliness — and 
let it go at that. 

She was wearing a smart, but simple 
black woolen dress, topped with a matching 
bolero jacket. {Not a sweater.) She wasn't 
in make-up. She was frankly freckled. Her 
bobbed hair was being tossed about by one 
of those Burbank breezes. She wasn't con- 
spicuous. She wasn't a glamor girl. Yet — 
as we passed this group or that, heads turned, 
with all eyes following her. From near and 
far, people called to her, and they smiled 
when they hailed her. They were obviously 
glad to be looking upon Lana. Others still 
didn't know, apparently, just who she was — 
but their necks turned, too, as they buzzed : 
"Who's that?" 

There's something about Lana that natur- 
ally captures attention. And I mean 
naturally. You anticipate an actressy girl, 
poised in the glamorous manner. You find 
a girl who might, in clothes and mannerisms, 
pass for a pretty high-school or college girl. 
She's unaffected, natural, innocent of at- 
tention-attracting. Yet she has only to walk 
by for peoole to look twice. Or even four 

She isn't strikingly beautiful. Her fea- 
tures are regular, not classical. Her hair is 
light brown, verging on auburn. Her eyes 

are hazel. Her lips are full. But she has 
an "alive" face. It reacts. There's some- 
thing about Lana. . . . 

LOOK at the map of Idaho. Look at the 
' "stovepipe" that is the very top of the 
map. There you will find a town named 
Wallace. That's where Lana was born. And 
christened Julia Jeanne Turner. "I'm still 
called that," she says, with an einbarrassed 
grin, "when Mother's mad at me. She'll 
teach me to behave !" 

Her father, Virgil Turner, was a vaude- 
ville dancer until he met and married 
Mildred Cowan, who wasn't as old then as 
Lana is now. She had been a fashion model, 
even so. Now, with her earnings, she be- 
came the owner of "a couple of beauty 
shops." Virgil became an insurance man. 

Lana is very proud of her mother — "only 
thirty-two. I don't look much like her. 
She's beautiful. I think I look more like 
my father." 

She was an only child, and she has always 
been sorry. She used to wish that she had 
brothers and sisters. ,Now, "I wish I had 
a twin. Then all this would be twice as 
much fun. Having someone who'd have the 
same reactions to everything I have, experi- 
ence everything I do. Then I could sort of 
stand off and see how I'm getting along, 
what I'm doing, what I'm not doing that 
I should, and all." 

She gives a mock-sigh of despair. I say 
"mock-sigh," because, at this writing, she 
couldn't be capable of a real sigh. Life, at 
this writing, is a lift to Lana. 

When she was five, the Turners moved 
for the first time. They went to San Fran- 
cisco. Lana remembers that hegira. They 
drove. And, part of the way, "my father 
let me 'drive.' You've seen these proud 
fathers behind the wheels of cars, holding 
their children on their laps, letting them 
'help' with the driving. Well, my father 
was that kind. 

"One place on the way down, I was in 
his lap, steering, when he went sound asleep. 
I didn't know. Neither did Mother, who 
was sitting in back. She had been asleep, 
too. Suddenly, she awakened— and every 
bit of color drained out of her. She could 
tell from the position of my father's head 
that he wasn't awake. Little Julia Jeanne 
was doing the steering. She didn't scream. 
She didn't dare. She shook him, and said, 
'Look at what our child is doing !' I guess" 
— she smiles again — "I cured them of know- 
ing what to expect from me." 

SHE wasn't quite ten, and they had lived 
in San Francisco and Sacramento and 
Stockton and other Northern California 
towns, when her father died. She was old 
enough to miss him. 

"I was great pals with my father. One of 
the things he did was to teach me tap- 

Lana and her mother went back to San 
Francisco to live. Her father hadbeen an 
insurance man who also believed in insur- 
ance for himself. They always "had enough." 
There was no struggle to make ends meet. 
There was no drama in Lana's growing up. 

She can't recall anything unusual about 
her girlhood, except — her liking for clothes. 
"Very young, I had ideas about becoming a 
designer. Yes, I liked dancing, for fun. 
But I never thought of becoming a dancer. 
Because I liked clothes so much. I was 
raised with thoughts of clothes. Mother 

Accept No Substitutes! Always Insist on the Advertised Brand! 

used to dress me in silks, instead of ging- 
hams, even to go out to play — to the head- 
shaking horror of neighboring mothers. 

"When I was fourteen, I had what was 
almost a phobia about never wearing a dress 
twice. That is, so that it looked the same 
twice. I was always taking something off 
a dress, putting on another touch. Other 
girls couldn't understand how I did it. Or 
how I designed my own clothes." 

There is one-half of the explanation why 
Lana wears clothes so handsomely. (Prov- 
idence is the other half.) 

"Oh, yes," she says, "when I finished 
grammar school, I did one other thing be- 
yond my tender years. I went across and 
around the United States alone. One day, 
out of a blue sky, I said, 'I think I'd like to 
go on a trip.' I didn't expect Mother even 
to listen. But she not only heard me ; she 
said, 'When would you leave?' As soon as 
school was out, I decided. 

"I left San Francisco in June and went 
first to Missouri to visit my father's family. 
Then, to Chicago, to visit other relatives. 
And Indianapolis, Washington, Atlanta, New 
Orleans. I saw the country. And passed 
for eighteen everywhere. Sometimes I think 
I looked older then than I do now. I got 
as far back toward home as Albuquerque 
when I ran out of money. The Y. W. C. A. 
took me in overnight and wired my mother 
for train fare home. Nobody thought of 
food money, too. From San Diego north I 
had to go without eating. . . . 

"Yes, that trip probably did a lot for me. 
I learned how to handle myself as if I zverc 
older. I learned how to be self-reliant. 
I learned how to talk to strangers. 

"How did my mother ever happen to let 

me go on such a trip — at that age ? I seemed 
older, for one thing. She trusted me, for 
another thing. Also, she thought it would 
do things for me. Be an education. Then, 
too — I was a little 'spoiled,' I think. I usual- 
ly did what I wanted to do. Now" — and her 
lips turn upward again — "I'm getting an 
education in not-burning-up-over-things-I- 
can't-do. I'm learning how to work for 
what I get." 

SHE and her mother first arrived in Holly- 
wood on the 26th of October a year ago. 
There was no thought of the movies then. 
"Mother had to come South for her health." 
Lana entered Hollywood High School. She 
was a junior. 

I ask her if the youngsters at Hollywood 
High are movie-conscious. 

"Very," she says. "How can they help 
it ? They're surrounded with the movie at- 
mosphere. I thought about movies, yes. 
Every girl does. But I wasn't serious about 
it. I was concentrating on art." 

How then, did the career happen? It is 
one of those few-and-far-between genuine 
Hollywood Cinderella stories : 

"It was just before Christmas. This par- 
ticular day, I didn't feel like going to typing 
class. I cut it. Besides, I was famished. 
This was eleven o'clock in the morning — 
and I didn't see how I was going to hold 
out till lunchtime. So I went across the 
street to one of those two-by-four restau- 
rants there for some food. And — I'll tell 
all — a cigarette. 

"I was sitting at the counter when a man 
walked in and sat down. I didn't know 
who he was, but I could feel him looking at 
me. You know that uncomfortable feeling — 
when you feel someone looking at you and 

you don't know what to do about it ? 'That 
guy's certainly fresh,' I thought. I tried to 
ignore him. Finally, he came over to me 
and said, 'After you finish school, would 
you like to be in the movies?' 

"I thought he was kidding, or pulling an 
awfully old line, or something. I said, 'Well, 
I've never thought much about it.' He said, 
'Be over at my office at four this afternoon. 
I want you to meet someone.' He said his 
name was Billy Wilkerson, and told me 
where his office was. The name didn't mean 
a thing to me. After he left, I asked the 
man behind the counter, 'Who is he?' He 
told me: 'Just the publisher of the Holly- 
wood Reporter. That's all.' He pitied my 

"I went home and told my mother and my 
aunt what had happened. My aunt knew 
Billy Wilkerson. Maybe that helped, too. 
Anyway, she went with me at four o'clock. 
He gave us a letter of introduction to Zeppo 
Marx, the agent. In a blue envelope, I re- 
member. Without that letter, I wouldn't 
have got to Zeppo. Agents don't bother 
with unknowns. 

"He took me around to the studios. He 
took me to Max Arnow, the talent chief at 
Warners. Arnow said, 'Come on over with 
me to Mervyn LeRoy. He's looking for a 
young girl for a picture he's about to make.' 
I went over. Mr. LeRoy seemed to like me. 
He kept me coming back for tests, with about 
twenty other girls. Then, one day, he said, 
'The role's yours — and a contract goes with 
it.' I was the happiest little girl who ever 
walked. I rushed home to tell mother. She 
didn't say anything. She was so happy she 
couldn't talk." 

[Continued on page 71] 

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[Continued from page 10] 

are now glad that she is finding happiness. 
You can read all about them by turning to 
page 23. 

ALTHO' June Lang seems to be 
playing the field as far as escorts 
are concerned — seems that A. C. 
Blumenthal, financial wizard, is head 
man right now. Or else why would 
she get up on a cold, foggy morning 
and meet the dawn-arrival of his plane 
from New York? 

TWO of the happiest kids in Hollywood 
are Jackie Coogan and Betty Grable. 
Because, long before you read this, they 
will be married after a three year engage- 
ment. That's a long time in any town, 
and particularly in movieland where you 
can generally make money betting on the 
outcome of any engagement. 

ANOTHER long-time twosome is 
Russell Gleason and Cynthia 

Ever since they met, two years ago, 
neither Russell nor Cynthia has dated 
anyone else. And when they were 
finally both cast in Having A Wonder- 

"Love me, love my horse,' 
Marsh, posing with stepper, 

' says Marian 
Triple Threat 

The stork is hovering over the home of the 
Allan Joneses— the Missus, Irene Hervey 

ful Time, they decided they were 
having it, and would like to continue 
— so they announced their engage- 
ment and plan to marry around the 
first of the year. 

WHETHER or not Rudy Vallee and 
Gloria Youngblood are engaged is 
still a matter of guesswork. But whatever 
the answer, it doesn't keep Rudy from 
dancing with Hazel Forbes or spending 
practically every afternoon playing tennis 
with Wendy Barrie. 

That Wendy gal must like tennis — 'cause 
when it isn't Rudy to whom she is showing 
the finer points of a love set, it's Brian 

stand the idea of working in 
Hollywood while his gal friend, Joy 
Hodges, was making good in New 
York in the musical take-off on FDR 
and the New Deal, I'd Rather Be 
Right. So Bob called his gal on long 
distance and told her that love waited 
for nothing and she'd simply have to 
find time off from her show to get 
married. Didn't take Joy long to say 
yes — so when Bob finishes his picture, 
[Continued on page 72] 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

New "It" Girl 

[Continued from page 69] 

Came the contract ; came the need for a 
screen name for her. "We were in Mr. 
LeRoy's office, talking about names. Gloria, 
Jeanne, countless others. Suddenly, I thought 
of 'Lana.' Nobody had ever heard of it. 
Neither had I. 'How would you spell it?' 
they asked. I told them. They said it over 
and over — 'Lo/i-nah.' They decided, 'That's 
it. ; " 

SHE had no dramatic training whatsoever. 
Despite that : "I suffered no agonies 
during the tests. When I started shooting — 
that's when I got nervous. A movie career 
really mattered to me now. It was a big- 
help, having Mr. LeRoy directing. He was 
so painstaking, so patient, so calm. 'Take 
your time,' he'd say. 'Don't get excited.' " 

Where did she acquire, on such short 
notice, the Southern accent she had in the 
picture ? 

"My father was a Southerner. We used 
to have a game : imitating Amos 'n' Andy. 
I was playing then at having a Southern 
accent. Now I was just playing again." 

The closest she had ever come before to 
acting for a camera was one time in San 
Francisco when, with two girl-friends, she 
posed for publicity pictures for the midget- 
auto races. The girl-friend's father ran the 
races, which explained that. "I look at those 
pictures now and shudder. I was blonder 
then. You should have seen me. I was 

Since They Won't Forget, she has made 
two other pictures. (Both of them were in 
production before the release of her first, 
before movie audiences ever saw her and 
reacted.) She was one of the trio of twit- 
tering maids in The Great Garrick. Then 
Samuel Goldwyn borrowed her to play the 
Chinese maid-servant of Alan Hale in The 
Adventures of Marco Polo — "in a lacquered 
wig, and with slanted eyes, and my lips 
different. It was fun." 

She isn't conscious of having changed 
much this past year. But her private life 
has changed. "We've moved to a nicer 
house. I have something now I've always 
wanted : a white living room — a white fire- 
place, white bear rugs, a white piano. . . . 
And my own rooms done in gold, with a 
four-poster bed and a canopy. . .And I have a 
car of my own." 

LANA won't confess to being the most- 
1 dated girl in Hollywood — which she is. 
The most she will say is — with a grin — "I 
get around." She doesn't have a date every 
night in the week. Sometimes, on Sunday 
nights, she goes to the Trocadero. Some- 
times, on Mondays, she goes out to dinner. 
Sometimes, on Wednesdays, she goes out — 
"just to break the monotony." (The girl 
has a sense of humor.) On Fridays, some- 
times, she goes out to a show. Tuesdays, 
Thursdays and Saturdays, she stays home. 
Especially Saturdays. She likes to be able 

to get up at six on Sunday mornings to go 
horseback-riding. She also swims. She 
plays tennis. She also admits to comedy 
wrestling tussles with her young mother. 

You get an impression of Mrs. Turner 
and Lana as being more like sisters than 
mother and daughter. You get an impres- 
sion of close companionship, great mutual 
affection. "Mother is very stately — till she 
gets started. I think" — she smiles at her 
understatement — -"I think I love her." 

She denies that she even thinks she loves 
anyone else, at this writing. She ivill say, 
"There was someone — and now there isn't." 
I think his name was Wayne Morris. But 
don't quote me. 

I ask her what she thinks of the title con- 
ferred on her : "The Sweater Girl." She 
makes a gesture of wanting to hide under 
the luncheon table. "I wonder," she says, 
"if I'll ever dare wear a sweater again. ' 

I tell her that countless girls would like 
to know how to have a Lana Turner figure. 
She colors ever so slightly. Then her sense 
of humor comes to her rescue. "That," she 
says, mischievously, "is my secret. . . Such 
talk !" 

She hopes her youth won't be a handicap 
(!). She means she hopes that she won't 
be fated to play "sweet simpering ingenues. 
I want to play parts I can sink my teeth into. 
Maybe I can't. But I'd certainly like to try." 

And that, for future reference, is Lana 
Turner — Miss Sex Appeal of 1938. 




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[Continued from page 70] 

it's New York and wedding bells. 
For Christmas. 

THE diamond bracelet that covers half 
of Mary Maguire's arm is a present from 
Joe Schenck, rhumba wizard, just so she 
wouldn't forget him while he is in New 

WHILE Martha Raye is keeping 
herself occupied with Dave 
Rose — an eastern radio man — and 
Doug Fowley, her husband-for-awhile, 
Buddy Westmore, is concentrating on 
Lana Turner. In fact if you looked 
real close, you'd find that the ring 
Lana is wearing is the engagement ring 
Martha returned to Buddy when they 
broke up their marriage. 

FRIENDS of Gregg Toland— ^oldwyn's 
ace color photographer — are kidding him 
about his brand new six-pound baby daugh- 
ter. The little gal has bright blue eyes and 
flaming red hair — friends insist it's the 
Technicolor influence. 

ANNE NAGEL, the widow of Ross 
Alexander, is just starting to at- 
tend Hollywood social events since the 

Paramount's new charmer, Louise Seidel, 
is a young hopeful on the blonde side 

Against backdrop of sawdust snow Anna 
Lee Steps out in Non-Stop New York 

tragedy that ended her marriage. Her 
most constant companion at the var- 
ious night spots is Gordon Oliver, who 
has forsaken Kay Stammers, the 
English tennis player, for the lovely 

JOHN BARRYMORE and his Ariel 
celebrated their first year of hectic on- 
again-off-again marriage — and John pre- 
sented Elaine with a brand new roadster. 

HELEN MACK celebrated her di- 
vorce from Charles Irwin by 
dining and dancing with Lew Ayres. 

THE Simone Simon and Gene Markey 
romance (if it ever zvas one) is definitely 
a thing of the past, with Simone concen- 
trating most of her attention on Willie 
Wyler, ex-hubby of Margaret Sullavan. 

Gene is busy escorting various of the 20th- 
Fox cuties to publicity-important events. 
One night he's with Annabella, the French 
lovely, and the next with Marjorie Weaver, 
of Lo'ville, the gal that 20th is grooming 
for stardom. 

[Continued on page 90] 


Accept No Substitutes! Always Insist on the Advertised Brand! 

And A Little Child Still Leads Them 

[Continued from page 32] 

in song and dance, she's in a class by herself. 

"Without any trouble," says Bill Robin- 
son, "she learned a routine I've never been 
able to teach a woman." 

Darryl Zanuck, boss of 20th Century-Fox, 
who knows his Shirley, heard a composition 
of Raymond Scott's called The Toy Trum- 
pet. "We'll have words set to it," he de- 
cided, "and let Shirley sing it in Rebecca of 
Sunnybrook Farm." 

"It can't be sung," Scott protested. "Least 
of all, by a child." 

"Shirley can sing it." 

Shirley not only sang it, but urged the 
musicians to "go faster — I can't sing it so 

"I don't believe it," moaned Scott. "If 
these weren't my own. ears, I'd say it was a 
publicity stunt." 

Yet if Shirley were merely an expert 
singer and dancer, she'd be doing specialty 
numbers in some other star's picture. Her 
skill in that field forms a charming little 
frill on the hem of her popularity. For its 
essence, one must dig deeper. 

TO ME the quality which makes Shirley, 
your Shirley and my Shirley and not just 
another sweet youngster- — the quality which 
no screen child, past or present, has shared 
with her — is a sublime and sunny faith in the 
goodness of life — a faith so unquestioning 
that the presence of evil inspires her less 
with fear than with a spunky determination 

to get past this obstacle to the good waiting 
just beyond. 

When she squares her shoulders and 
plants her chubby legs apart to do battle 
with some snake-in-the-grass, you know that 
the snake-in-the-grass can't touch her spirit, 
that she'll emerge from the encounter as 
blithe and trustful as she entered it. When 
she puts her hand in the hand of some old 
curmudgeon and smiles up at him as if he 
were a chorus of caroling angels, there's 
enough defenceless good will in that smile 
and gesture to melt the hearts of all the 
cranks in the audience. 

That our faith falls short of hers doesn't 
matter. That Shirley believes in a world 
we'd all like to believe in makes it true for 
a while. We bless her for keeping what 
we've lost. We'd fight anyone who tried 
to take it from her. She's a symbol of the 
enchanted realm of childhood. She's the 
princess triumphant with the dragon in 
chains at her feet. That she'll probably 
stoop to pat the dragon's head instead of 
putting her foot on him, adds the final touch 
of worshipful tenderness to our feeling for 

It must be self-evident that this quality is 
natural to Shirley. She had it at four. At 
four no child, given the most skillful direc- 
tion, could mould for herself an artificial 
personality. She has it unimpaired at eight. 
She never knew any baby fears of the dark. 
She's not even afraid of the crawling ants 

and spiders that she doesn't pretend to like. 
She keeps out of their way, and when they 
get into hers, she bids them scram. 

Her parents have guarded her native trust- 
fulness. Something happened one day to 
terrify the monkey that played a scene with 
her in Heidi. In his panic he took a nip at 
Shirley's arm. She was naturally startled. 
Mrs. Temple gathered the frightened little 
animal into her arms, where he cowered 
trembling. Shirley promptly went over to 
stroke his head. "Poor little monkey," she 
crooned, where another child would have 
been sobbing, "Poor little me." 

THE Temples are keenly aware of the 
dangers besetting any life lived in the 
limelight — so keenly aware that when the 
first movie proposals were broached, 
Shirley's father flatly refused to consider 
them. He was won over, less by dazzling 
promises, than by a quiet faith in his wife's 
judgment and in her ability to keep Shirley 

Whether Gertrude Temple's understand- 
ing of child psychology is intuitive, or 
whether she learned by trial and error in 
bringing up her boys, the fact remains that 
few children reared exclusively at home are 
as un-selfconscious as the darling of mil- 
lions. This sounds like a large statement. 
Large or not, it's true. 

How is it possible? At the studio her 
[Continued on page 82] 


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Smarting, tender skin 
promptly soothed and 
comforted by washing 
with Resinol Soap and 
applying Resinol 

Serve Savory Soups 

[Continued from page 6] 



vegetable liquids, heat, and strain through 
a cloth. Serve very hot. The cooking 
water from such vegetables as carrots, cel- 
ery, asparagus, cauliflower, etc., should not 
be thrown away, but saved and used as a 
base for these thin soups. Here are some 
tricks in preparing these : 

Julienne : Use clear meat stock, or hot 
water and bouillon cubes, with vegetables 
shaved into the thinness of match sticks. 

Tomato Bouillon: Combine 1 can bouil- 
lon with equal amount tomato juice, season 
with onion juice, and a few drops Worcester- 
shire sauce. 

Pimiento Bouillon: To 2 cups canned 
chicken broth add the pulp of 3 pimientos 
pressed through fine sieve. Heat, add yolk 
of 1 egg beaten in cream, and stir to thicken. 

CREAM soups are rich in nourishment 
because they are made with rich milk or 
cream. Children, and men, too, love this 
type of thicker rich-textured soup, especially 
when garnished with squares or sippets of 
toasted bread or a grating of cheese. By 
starting off the family dinner with such a 
soup, one can be economical with the rest 
of the menu. For luncheon the cream soup 
is perfect — a plate of soup, a salad and a bit 
of fruit, and the luncheon is a combination 
taste and health success. 

To make a cream soup use the pulp of any 
preferred vegetable, particularly carrots, as- 
paragus, celery, mushrooms, pumpkin, etc., 
— a pulp made by pressing the vegetables 
through a fine sieve. To this, add a portion 
of milk or cream, and heat slowly. To 
thicken, add what the French call "roux," 
meaning flour rubbed into butter. For chef's 
perfection, strain the heated soup once again 
so the texture will be uniform and velvet 
smooth. Here's a sample of a delicious 
cream soup, one very seasonable in winter, 
and with a special flavor all its own : 


3 tablespoons butter 

3 tablespoons finely diced pork 

1 tablespoon leek, chopped 

2 tablespoons celery, chopped 
2 bay leaves 

2 tablespoons flour 

6 cups veal broth 

1 head cauliflower, cooked 

4 cups milk 

2 egg yolks 
^2 cup cream 

Sugar, salt, white pepper 
Pimiento stars 

Melt butter, add pork, leek, celery, 
bay leaves and flour. Brown, stirring 
constantly. Add veal broth and cooked 
flower, broken into flowerets (reserving 
some for garnish). Let boil a few min- 
utes longer. Sieve. Add milk, and heat. 
Add eggs beaten in cream just before 
serving. Serve in large soup plates with 
1 floweret and several pimiento stars to 
each portion. (A less expensive soup 
may be made by substituting water for 
veal broth.) (Serves 8-10) 

Other suggested cream soups are : White 
Turnip Cream Soup, Mushroom Soup, As- 
paragus Puree, Salmon Puree, etc. All are 
made by combining a thick pulp (which 
may be seafood as well as vegetable pulp) 
with milk, cream and a binding ("roux") 
of butter rubbed in flour. 

AND now for that large and most im- 
- portant class of soups which are or 
may be an entire meal. What grand soups 
they are, and how many nations, in their 
poorer classes, almost live by soup alone ! 
Take the "borscht" or beet soup of the 
Russians, the "pot-au-feu" of the French, 
the mutton broth of Scotland and England, 
and the remarkable onion soups which seem 
at home in any nation. Yes, these are all 
"meals in one," and well deserve to be made 
often and well. 

For, when well made, nourishing soup of 
this hearty type supplies practically every- 
thing necessary to good eating, and nothing 
more is required but plenty of good bread,, 
pilot biscuits or crackers, and a light fruit 
as a happy ending. In older days, the soup 
kettle was the most important single piece of 
equipment which the housewife was proud to 
own. Today, alas, it seems a bit neglected, 
although the response from readers on a 
Soup Contest recently managed by a certain 
publication brought in 100,000 recipes just 
for "Soup of the Evening, Beautiful Soup !" 
And what are some of these grand old 
kettle soups which today's daughters might 
well copy and repeat? Well, they might 
include English Beef Soup, thickened with 
barley, rice or vermicelli, or alphabet pastes ; 
Cock-a-leekie, another standby of the Scotch, 
brimming full of cut vegetables, barley and 
nourishment, something to "stick to your 
lugs" as the old man said. Then there's an- 
other division of these thick hearty soups 
which takes beans as the base — the black 
beans, the white beans, even the red beans ! 
is there any reader who does not know the 
goodness of a Black Bean Soup ? So that 
she shan't be unknowing of it a moment 
longer, we set the recipe down in black and 
white as follows : 


1 pint black beans 

2 quarts cold water 

2 tablespoons onion, chopped 

2 stalks celery or celery root 

2 teaspoons salt 
]4 teaspoon pepper 

3 tablespoons butter 
2 tablespoons flour 
2 hardcooked eggs 
1 lemon 

Soak beans overnight ; drain, add cold 
water, and rinse thoroughly. Fry onion 
in 2 tablespoons butter and add to beans. 
Add celery and 2 quarts water. Cook 
slowly 3-4 hours until beans are soft, 
adding more water as it boils away. 
Rub through strainer, add seasonings, 
and heat. Heat remaining butter in 
saucepan, add flour, and add gradually 
to hot soup. Cut lemon in thin slices, 
removing seeds ; cut eggs in thin slices ; 
and serve both in soup. 

OTHER soups don't appear to fall into 
any of the main categories but taste just 
as good all the same. This one, which all 
men simply rave over, is neither difficult nor 
expensive to make : 


2 tablespoons butter 

2 onions, minced fine 

2 tablespoons flour 

2 teaspoons curry powder 

2 cups veal broth 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

2 cups cooked veal, diced 
Salt, cayenne 

Melt butter, add onion, and saute to 
light brown. Add flour and curry- 
powder, stirring constantly. Gradually 
add hot veal broth, and continue stirring 
until soup is creamy. Season. Add 
diced veal. Serve with toasted water 
crackers. (Serves 6-8) 
When is a soup a chowder? Of course 
the ultimate in soup heartiness is Chowder, 
spelled with a capital "C." A chowder, 
ladies, if you don't make it often, is a grab- 
bag of flavor from some sort of fish or sea- 
food, potatoes, pork or bacon, and enough 
milk to hold the dish tgether. Thrifty New 
Englanders know their chowders — and how ! 
No several courses at every dinner for them. 
Just put everything into the same pot, cook 
it over one burner (thrifty for fuel, too,) 
and let it ripen. Then EAT ! There are 
several recipes for simply wonderful chow- 
ders — including favorites of the men movie 
stars, like Russian Duck Soup, which makes 
the 4 Marx Brothers' Duck Soup taste like 
water! — in the special leaflet which will be 
sent you free. 

AND one more point : when serving soup, 
. don't forget the details of Soup Eti- 
quette, and what to serve with them. Most 
cream soups require the contrast of well- 
browned or fried bread squares — croutons, 
to you. Clear meat stock soups can handle 
tiny dumplings, dropped in at the last minute. 
Little triangles of pastry, plain or filled with 
chopped cooked vegetables, are delicious to 
eat with meat soups, and vice versa, using 
chopped meat fillings with vegetable soups. 
Toasted bread strips sprinkled with grated 
cheese are tasty with vegetable soups, the 
best contrast being a hard bread with the 
soft soup. Following are other suggestions 
to improve soup service : 

Serve 1 teaspoon slightly salted whipped 
cream on cream soups. 

Sprinkle shredded toasted almonds on 
cream soups. 

Serve small dice of raw vegetable on 
cream vegetable soup (carrot on carrot 
soup, celery on celery soup, or cooked peas 
on cream pea soup, etc.) 

Fry thin slices of frankfurter in butter 
and top each serving of bean soup with 5 
little slices. 

Due to the overwhelming response to 
our Mystery Recipe Contest the editors 
regret to advise that the announcement 
of the winners has been postponed. The 
announcement will definitely appear in 
the March issue. 



Let Me Send You -the 

8 Savory Soups, including Russian Duck 

Soup, Crabmeat Cream 

Soup and Wine 


Just paste this coupon 

on a post card 

and send It to Christine Frederick, c/o 


501 Broadway, 

New York City. (Thi 

s offer expires 

February 28, 1938.) 

Street Address 

Town and State 


From a MEDICAL JOURNAL: "The researches (of these 
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condition. To overcome this, they prescribe various alkalies." 


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one Sauce Pan. Given for distributing 
only 30 Packets M "Garden Spot' 1 
Seeds at 10c each. We pay postage. 

Handsome finish, highly 
polished. Set of strings and 
bow included. SEND NO MONEY. Just name 
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New Rubber Valve 

Share the* thrill of 
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chrome fin- 
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A glorious surprise. It surely Is a 
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Given for disposing of 30 pkts. Seeds at 10c a pkt. 


NewColorsl New Beau ty! 

Secure this all-around utility 
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tributing only 30 Pkts. of 
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Clock delivered to vour Hoor-- 
,we pay postage SEND NOW 





if] GJ12S 


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Truly a remarkable offering. For selling only 
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Get this hand* 
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NOW. Just Bend 
your name and address. Send I . . 
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of Garden Seeds to sell at 10c a pkt. 
When sold send $3.00 collected and 
we will send this mahogany finish Guitar and Five- 
Minute Instruction Book absolutely FREE.WRITE TODAY. 


■ Cut Here 


* Station 349 Paradise, Pa. 

a Please Bend me at ohce 30 packets of "Garden Spot" 

a Seeds. I agree to sell them within 30 days and return 
a money for my GIFT according; to yaur offers. You agree 
a to send m. gift promptly, postpaid. 

a Name 

; Post Office- 
■ State 

• Street or R.F.D. No— 


Print your luat name plav 

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I once had ugly hair on my face and 
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"I Didn't Think It Could Happen Again" 

[Continued from page 23] 

think it would happen again, ridiculous as it 
may seem. For it was ridiculous, actually, to 
suppose that love wouldn't come again to a 
girl so young, so beautiful, with such a 
proven warmth of emotion, such understand- 
ing of human frailty when understanding- 
must have been sorely tried. Why shouldn't 
it come again, with all the young men who 
have sent her flowers, dined her, danced with 
her, pleaded for dates, offered their hearts 
. . . Cesar Romero, Jimmy Stewart, David 
Niven, the others . . . 

But Virginia, gay, companionable, seemed 
always to have a last reluctance, a final 
reservation. Was she clinging, her friends 
thought, fearfully, to a dream which would 
not let her go? Was she clinging, still spell- 
bound, to a memory more vivid than any- 
thing living? 

I remember so well the very young- 
Virginia of nine years ago. I talked with 
her the day after she had announced her 
engagement to John Gilbert. 

THERE was an unbelieving look in 
Virginia's eyes in those days, a look of 
incredulity. Even after she married John 
Gilbert, was the mistress of his home, the 
mother of his daughter, there was still that 
slightly dazed, incredulous expression, al- 
most as though she were saying: "I don't 
believe that this is true, not any of it. Pinch 
me, please, and I will wake up." 

I don't know whether she hoped she would 
be pinched and awakened or whether she 
wanted to keep on dreaming. A little of 
both, perhaps . . . 

But now there is a difference. There is 
this difference : The look in Virginia's eyes, 
since she announced her engagement to J. 
Walter Ruben, dark, much the build of John 
Gilbert, with a humanness which makes him 
generally beloved, thirty-six — is a believing 
look, a look not of incredulity, of daze and 
dream, but a look of confidence and faith and 
trust. She is not seeing love through a blur 
now, through mists of Make-Believe ; she is 
looking at love with her eyes wide open, her 
heart at home. 

She was saying : "I didn't believe it could 
ever happen to me again. It never has — 
until now. I have gone out with so many 
boys and men, liked them so much, been in- 
terested. But never in love, never once. Of 
course it never does, never can happen 
exactly the same way. That is where I 
made my mistake ; that is why I said the 
things I have said to you through the years 
. . . about never marrying again, or not 
marrying for five years anyway ; of it being 
fatal for me to have loved Jack Gilbert first 
because he made all other men seem drab by 

"I made the mistake, you see, of supposing 
the same love would happen again. And 
how, I thought, could it? It couldn't, of 
course. And shouldn't. There is more than 
one love in a lifetime, as there is more 
than one friendship. And one subtracts 
nothing from the other. It is simply not the 
same love, that's all. 

"I am so happy now, so happy I can't tell 
you ! And I can say this, you see, without 
disrespect, without disloyalty to my memory 
of Jack. Because it doesn't touch it at all. 
I am so happy because I am in love now with 
my own kind of person, with the kind of love 
that is mutual, in kind and quality. 

"It is so different — for one thing. Sonny 
believes in me. I can't tell you what this 
means to me. I have so little ego, so little 

confidence in myself, as a person, as an 
actress." (And I thought then, how could 
she have had confidence in herself, flung as 
she was with her little experience, hurtled 
almost directly from her quiet, folksy home- 
life into the maelstrom which was John 
Gilbert's life.) 

"Sonny," Virginia was saying, "listens to 
everything I say. He listens to me. And he 
always finds something worthwhile, some- 
thing sweet and real and good in what I 
say. It's a wonderful experience for me. 
He believes in me as an actress, too. He 
helps me so. He wants me to go on with 
my work for as long as I want to work." 
(Later, Jack Ruben told me, sotto voce, eyes 
both tender and laughing on Virginia, "I 
want her to go on with her career for as 
long as she wishes, but I hope it won't be — 
too long!") 

It is a protective love, the love Jack Ruben 
has for Virginia. It is, I am sure, the 
cherishing, adoring love of the man for the 

"I call Jack 'Sonny,' " Virginia explained 
then, "because — well, I naturally didn't want 
to call him Jack. It's curious about the name 
of John and the part it has played in my life. 
In the first place, it's always been my favor- 
ite man's name, ever since I was a little girl. 
Then, when I was in high school, I had four 
beaux and every one of the four was named 
John. Then John Gilbert, now John Walter 

"And if and when we have a son — and oh, 
I hope we do, just as soon as possible — I 
shall name him John, too. But I didn't know 
what to call Jack Ruben and so I asked him 
and he told me that his father has always 
called him 'Sonny' and that he likes it be- 
cause of his father and that's how it began. 
At first it was a little difficult for me to say 
it naturally, without self -consciousness. But 
now it comes perfectly naturally. And 
'Sonny' it is. Anyway," laughed the bride- 
to-be, "he is like a little boy, sometimes . . . 
when he isn't being wiser than any man I 
ever knew ..." 

But to Virginia all men are "little boys" 
at times. Set in that fragile beauty the 
maternal runs deep and strong. 

"\T7'E ARE the same kind of people, 
VV Sonny and I," Virginia was saying, 
with this rich new contentment in her voice, 
"we have the same dispositions, sort of happy 
and casual, both of us. We think alike about 
everything. We like the same people for 
the same reasons. We speak the same 
language. We have the same desire for 
permanence. We both want a home of our 
own, we want children. I want to have a 
baby . . . just as soon as I possibly can. 
No, I don't care whether it keeps me away 
from the screen for a time, or not. What 
is working in a picture compared to having 
a baby ? I'll be so proud to have a baby for 
Sonny . . . 

"There is something a little old-fashioned 
and so, to me, very sweet about this love of 
ours. You see, it's been a long time a'grow- 
ing. It isn't one of those we-met-at-the- 
Troc-and-were-engaged-when-the orchestra 
stopped-playing-kind-of-things. I met Sonny 
at Paramount when I first came to Holly- 
wood about nine years ago. I've known him 
all this time, a casual friendship sort of 

"He says that he has been in love with me 
from the very first time he ever saw me. 
He 'proves it', he says, by remembering 


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little things about me, the way I looked with 
long hair, the places we met. He says that 
I amused the life out of him because of the 
way I giggled at everything. I remember 
him, too . . . but I didn't, of course, think 
about being in love with him. Oh, not then. 

"Then I've seen him a great deal here on 
the M-G-M lot. And now he has directed 
me in Bad Man of Brimstone. Just before 
the picture started I went to his office quite 
often to talk over my part with him. His 
advice was wonderful. He'd help me with 
lines, tell me how to read them to get the 
most out of them. No, I didn't think even 
then of being in love with him. I really 
didn't. I don't remember that I even 'cat- 
alogued' him as girls do, consciously or un- 
consciously, when they meet any man. I 
mean, I don't remember labeling him in my 
mind as definitely attractive or the reverse. 
I think now that I just had the sense that 
he was there and that I didn't need to go 
beyond that. 

"Then we went on location, to the little 
village of Kanab, in Utah. A sleepy, re- 
mote little hamlet with live oaks and sort of 
'Eastern' trees brooding over it and every- 
one simple and folksy, and everything as 
real and heartening as bread and work, and 
all the hills a sort of dark tangerine color 
and life so peaceful. Sonny and most of the 
company were there before me. 

"It was my first location trip, the first time 
I've been out of California in over four years. 
I was, of course, terribly excited about it. 
Sonny tells me now how he loved my en- 
thusiasm, loved the interest I took in my 
part. When he was leaving for Kanab I said 
to him half in fun (but was it wholly in fun ? 
I doubt it now), that I'd expect him to greet 
me with a big kiss when I arrived. He 
promised me. I did arrive, finally, after 
long hours in the train, a hundred mile drive 
in a car into what seemed to be Nowhere. 

"When I arrived Sonny was in process of 
taking a shower. But he did emerge pres- 
ently, wrapped in a robe, and he greeted me 
with the kiss I had asked for. He hadn't 
forgotten. Even then I didn't know. But 
I must have had a deeply comforting sense 
that he hadn't forgotten, 

"TT WAS while we were in Kanab, so 
JL peaceful and so far away from everything 
that had ever happened to me, everything that 
had been happmess and hurt, that I knew. 
One night as I as leaving the others to go to 
bed Sonny asked me, half-laughingly, to 
kiss him goodnight. And suddenly I felt 
that I couldn't, not then, not in front of the 
others. Suddenly I felt self-conscious and 
didn't know what to say or to do and stood 
there, awkwardly, like an adolescent girl 
with her first beau. And then I gave him 
a sort of peck on the cheek and ran off. 
I think I must have known then, in my heart, 
though my mind didn't put into words what 
my heart knew. 

"It was on the train coming back that he 
asked me to marry him. And it was when 
he put it into words — the words he knows 
how to use so well that the accumulated 
emotion I must have been storing up all those 
months, perhaps years, came real and alive 
to me. And I knew. 

"I remember so well sitting with him in 
the train, feeling a sort of ache all over me 
because the trip was over, because when we 
got into Los Angeles we would be going 
our separate ways alone, because I would 
always be alone without him; And then he 
asked me to marry him. I can't tell you how 
beautifully he asked me, how reverently. It 
was the way I had dreamed, long ago, that a 
man should ask a woman to marry him. It 
made marriage seem so real and warm and 

"He told me that he was really living for 
the first time; that he had never believed 
this could happen to him ; never believed that 
he could feel for any woman what he feels 
for me — the desire to be together all of our 
lives, to grow old together, to share every 
experience and pain and joy together, to 
be together, in everything. Oh, he said 
many lovely things ! And I knew that he 
meant them. 

"And I said, 'Yes,' because there was 
no other answer in all the world or in my 
heart that I could have given, or would 
have given. I said, 'Yes,' with all of me, 
for all my life." 

AND this is the way love should be, for 
xJL Virginia. It should be this sense of 
coming home. For she is a quiet heart, with 
love of home and children, love of simplicities 
deep in her heart. A tender heart, a clear 
and honest mind, these are the fundamentals 
governing Virginia. 

"He is so understanding," Virginia said, 
"I don't know how other women feel about 
it but, to me, to have a man understand you, 
everything about you, everything you have 
thought and dreamed is marriage. Sonny 
even , understands about Jack and me. He 
knew Jack, was his good friend, was fond 
of him. So that I can even talk to him about 
Jack without embarrassment or constraint. 
Other boys and men I have gone out with in 
the past few years have been so different ; 
they have seemed to resent it when I've 
spoken of Jack ; their attitude has been : "Oh, 
can't you forget him. . . ." But Sonny knows 
that every experience becomes a very part 
of the person who has experienced it and 
should not be 'forgotten.' 

"And he is so tender with me. He makes 
me feel so taken care of. If I have a sore 
throat he is frantic ; if I am tired, he knows 
it ; if I am thoughtful he enters into my 
mood with me. He comes to the house, al- 
most every night, and 'calls on me', in the 
old-fashioned way. He sits with Mother and 
Dad and Stan and me, and we talk and have 
fun. And Mother and Dad have come to 
love him, too. At first they were opposed 
to the marriage. They didn't want to lose 
me again, naturally enough, I suppose. They 
knew that this marriage would mean taking 
Susan away from them. But now they are 
happy because they realize how completely 
happy I am. 

"Susan loves him, too, and his interest in 
her, his fondness for her, his way with her 
has become a part of my love for him. I 
have constantly the feeling, now, that there 
are a pair of arms about me, sheltering me, 
keeping me safe and secure. And, at the 
same time, he has made me feel important. 
I've never had this feeling before . . . 

WE ARE going to be married just as 
soon as possible after I finish nry 
present picture, Arsene Lupin. Just the very 
instant I am finished. I don't know at the 
moment just where we will be married. I 
don't like the house Mother and Dad and 
Stan and the baby and I are living in. 
Sonny's home is small. Dolores and Cedric 
Gibbons have offered us their house . . . they 
are all so kind and interested and they all 
tell us NOT to run off because they want 
to see us get married. 

"So I don't know . . . after Ave are married 
we hope to get away for two months. Sonny 
would like to take me to Europe. When we 
come back we will rent a house for six 
months or so, maybe longer. Until our own 
house, in Brentwood, is built. Sonny owns 
some acreage there and we will build our 
own home. And I believe," said Virginia, 
strong and sure, "I believe that we will live 
'happily ever after' — " 

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Why Men Like Myrna Loy 

[Continued from page 37] 

that she has been created by the sly magicians 
of M-G-M to ensnare the male contingent 
of our film-going citizenry. Labeled as the 
perfect wife of the screen, she has been 
shown to us as a beautiful, witty, intelligent, 
gracious, tolerant and understanding help- 
mate of the harrassed man. But I found her 
just as attractive off the screen as on, and 
just as delightful and admirable. That's 
saying a great deal, and I suppose some will 
doubt me, but this a sincere statement of 
my impression of Myrna Loy in real life. 
She is always in character. 

Clark Gable once told me "Myrna knows 
how to inspire men with chivalry, without 
ever demanding it. Women have become the 
equals of men, and that's mighty nice, but 
the trouble with many of them is that they 
think they should give up their feminine 
individualities and acquire masculine traits 
and characteristics in order to meet men on 
equal ground. Myrna is no weakling, she 
has a mind of her own, but she never stops 
being a woman." 

"There is another thing I like about her," 
Clark added. "She appreciates the comical 
side of life, and knows how to laugh. I 
can't imagine a charming woman without a 
sense of humor. If women appreciate a 
sense of humor in men, men appreciate it 
even more so in women." 

LA BELLE LOY met me in the door- 
'way of her portable dressing-room on 
the set of Man-Proof. Dick Thorpe was 
shooting a party scene in a Long Island 
mansion, and she wore an elaborate modern 
confection by Adrian. She gives you her 
hand exactly as she does on the screen, her 
blue-green, slightly almond-shaped eyes 
sparkling with a delicious smile. 

We were exchanging inconsequential 
pleasantries, when Spencer Tracy stuck his 
Irish mug in the door and she beckoned him 
in. They chatted for a few minutes, with 
Tracy doing most of the talking. Myrna 
is not loquacious. She likes to listen — and 
that, my friends, is another reason why men 
like her ! 

AS THIS intensely human personality 
. rose to go, murmuring apologies in my 
direction, I asked him if he was in a hurry. 
He said no. "Then will you please tell me 
why men like Myrna Loy?" I demanded. 
Myrna gave out a laugh and the color deep- 
ened in her cheeks. "Why men like Myrna 
Loy?" Tracy repeated my question, gaping 
at me, and seemed to tell me with his eyes, 
"What a stupid question !" Then he turned 
around to Myrna, and said to me, "Just 
look at her. That's why men like her. Just 
look at her." He spoke as if he were in- 
dicating a prize exhibit, whose points were 
too obvious to need any comment or ex- 
planation. He fell to thinking for a moment, 
rubbed a hand across his chin, and added 
earnestly : 

"A lot of modern so-called sophisticated 
women wear a defensive armor. They are 
hard. They don't want to be hurt, and they 
think they have to be hard in order to pro- 
tect themselves. Myrna is as soft as they 
make them, and there isn't a man in all this 
wide world who would want to hurt her." 
Myrna sat listening in that inimitably de- 
lightful manner of hers, her retrousse nose 
tilted provocatively upward. 

"Men," Spence snapped gruffly, "don't like 
a dame who turns on her battery of physical 
charms on every guy she meets. You know 

the kind of women I mean — exhibitionists 
constantly on the warpath. Now just look 
at Myrna. She has charms galore, but she 
doesn't make an open display of them, but 
rather suggests them, as every woman 
should. Maybe I'm old fashioned, but that's 
the kind of woman I like. And there is also 
a bit of mystery about her that fascinates 

RACY took a bow, and was gone. After 
which our conversation went on like 



"How do you like your new picture, Man- 

"I like it very much." 

"I suppose you have another perfect wife 

"No, I don't. And I'm glad I don't. I 
don't like to be typed, not even as a perfect 
wife. In this picture Roz Russell is a 
wealthy society girl and she steals the man 
I love, Walter Pidgeon. They marry, and 
I act as one of the bridesmaids at her wed- 
ding. Then I go to a night club and get 

"Quite a let down for the perfect wife," I 

Myrna laughed again. A brief, bubbling 
laugh. "I'll say !" she said. "To forget the 
man I'm infatuated with and find a new in- 
terest in life I get a job as a commercial 
artist, and my career eventually leads me to 
the right man." 

"Time was when you were quite adept at 
stealing husbands yourself — I mean on the 
screen," I suggested. 

"Don't remind me of those vamping 
Oriental roles !" she pleaded. It's a painful 
memory with her. But she admitted that 
playing Chinese, Javanese and other slant- 
eyed sirens taught her something about love 
and men and women in general, and helped 
her in her "perfect wife" characterizations 
later. "I studied the ways and customs of 
the Oriental women," she confessed, "and 
I even used to write my own dialogue ! I 
was impressed by their serenity. That's 
something we Occidental women lack." 

"You don't," I insisted. 

"Oh, do you think so? Thank you," she 

Indeed, Myrna Loy's ability to dismiss 
a vexing problem or embarrassing situation 
with a shrug of her shoulders and an upward 
tilt of her saucy nose, instead of indulging 
in the luxury of bad temper and hysterical 
fireworks, has endeared her to male film- 
goers, and is the most characteristic of her 

AS THE theme of Man-Proof revolves 
. around the eternal triangle, I was 
curious to know what she had to say 
about the "other woman," speaking from 
her experience as an Oriental femme fatale 
and Occidental perfect wife. 

"Every wife dreads the 'other woman,' " 
she said. "If she will only keep cool and 
calm when she finds out her husband is in- 
fatuated with another woman, and not take 
the situation too seriously, she is sure to 
win him back in nine cases out of ten. These 
infatuations are usually temporary reactions 
to something novel and new, and when the 
exciting person ceases to be novel and new, 
the erring partner returns to the fold. 

"Other woman complications would solve 
themselves without wrecking a wife's home 
and happiness," she continued, "if she re- 
mains sure of herself and refuses to get jeal- 


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ous. It's jealousy that causes the real mis- 
chief in a triangle. The wife thinks her 
husband doesn't love her any more because 
she lacks something or other which the other 
woman has, which is not true in nine cases 
out of ten, and develops an inferiority com- 
plex, withdraws within herself, grows bitter, 
suspicious, domineering. 

"Now, if the other woman does have 
something which the wife hasn't got, she 
should analyze herself objectively and try to 
remedy the defect or find a good substitute 
for it. The wife who always remains as at- 
tractive and interesting as when her husband 
married her, need not fear the competition 
of the other woman. She has every ad- 
vantage over her. 

"Of course, it may happen that the hus- 
band falls really in love with another wo- 
man, who, temperamentally and in other 
ways, is more suited to him. There is a 
difference between real love and temporary 
bedazzlement of the senses. The former is 
permanent. When that happens, she might 
as well be a good sport about it and give her 
husband his freedom to marry this other 
woman. Refusing to recognize that fact will 
not help matters." 

"That would be a tragedy," I said. 

"It will hurt her terribly, of course, but 
in the end it won't be a tragedy if the wife 
has a career, something she can go back to, 
and which can keep up her interest in life. 
The wife who has a career is always modern. 
She never stagnates mentally, and her op- 
portunities for meeting other men are far 
greater than of the woman who can't earn 
a dollar." 

"So you believe in combining marriage 
and career?" 

"Absolutely. The time will come when it 
will be wrong for a woman to expect her 
husband to support her when she has no 
children, as if it were her natural right and 
her husband's duty. Wives, of course, have 
always worked, and worked hard, in the 
past. But with modern mechanical im- 
provements and changed economic condi- 
tions, there isn't much left for the childless 
wife to do at home. 

"There is no reason why intelligent wo- 
men cannot combine marriage and career 
successfully. One helps make the other 
more interesting. I know of women who 
gave up their positions in the business or 
professional world when they married, but 
found their home lives so monotonous and 
were so bored with themselves that they re- 
turned to their former jobs, and became 
far more contented and successful as wives." 

IT HAS been said that Myrna Loy has a 
man's code of living. Men like women 
who have a man's outlook on life, without 
losing their essential femininity. The petty 
qualities of the so called weaker sex can be 
very annoying to men. Myrna stated em- 
phatically : "Women should not expect to 
have success in the business and professional 
world handed to them on a silver platter. 
They must work and fight for their success 
just as men do. Now that the inequality be- 
tween the sexes has been abolished, women 
should be willing and ready to meet the same 
terms and conditions with which their male 
competitors are faced." 

If you doubt the fighting qualities of this 
delectable red-head, remember her salary 
dispute with her studio some years ago, and 
how she treated herself to a vacation in 
Europe until that argument was settled in a 
business-like and mutually satisfactory way. 

The perfect screen wife is true to type in 
real life. She never figured in the gossip 
columns before her marriage to Arthur 
Hornblow, Jr., litterateur and Paramount 
producer, who was the first man to discover 

that Myrna had a talent for other roles be- 
sides bizarre Oriental coquetries. When 
they first met — a fatal encounter ! — she was 
freelancing and Hornblow occupied a pro- 
ducer's berth at United Artists. He put an 
end to her lurid villainies and cast her in her 
first sympathetic role in The Devil to Pay, 
which he produced. Animal Kingdom 
definitely increased her reputation as a 
cinemactress to be reckoned with. The Thin 
Man established the crack marital team of 
Myrna Loy and Bill Powell, which has 
proved so enormously popular. 

She will tell you that her hobby is her 
home. She has taken a passionate interest 
in the designing, building and furnishing of 
that spacious love nest in Cold Water Can- 
yon, and her idea of a swell interview would 
be to talk about nothing but her house. It's 
a country type domicile of Spanish-Cali- 
fornia architecture, standing in the midst of 
acres of gardens, where you will find her 
on her days off from the studio, planting, 
digging, watering, and carrying armfuls of 
flowers into her house. Its rooms suggest 
the sunny provinces of France. 

THE Hornblows are continental in their 
tastes. Myrna likes color schemes of 
greens and golds. "Not the glittering type 
of gold," she explained. She glorifies in her 
fine linens. Each room in the Hornblow 
menage has its individual linens. "I gather 
them from all over the world," she asserted 
with wifely satisfaction. She takes extreme 
pride not only in her dahlias and chrysan- 
themums, but in her culinary herbs, such as 
saffron, sweet basil and thyme, which she 
grows for use in the amazing bounties of 
her kitchen. Her soups and salads are 
famous among the gourmets of filmland. 
A bowl of bouillabaisse a la Myrna Loy is 
something to write home about. Chestnut 
soup, pumpkin soup and the hearty Russian 
borscht are features on her menus. 

Myrna collects recipes of all nations with 
the passion of a philatelist collecting rare 
stamps, and showed me with an appreciative 
twinkle in her eye a thick volume on the 
table of her dressing-room — Recipes of All 
Nations. Next to reading recipes, she likes 
poetry, and I noticed Edna St. Vincent 
Millay's Conversation at Midnight, a slender 
volume of lyrics, in her dressing-room. 

"I like to plan the menus and do my own 
marketing," she said, "when I've time. It's 
so much more fun." She presides over a 
well-regulated household, in spite of the 
exigencies of her profession. A star has to 
get up at six o'clock to be on the set at 
nine ; which means she is an early riser. 
But on Sundays she gets up late, and likes 
to have her friends come over for tennis and 
swimming and serve them a buffet lunch. 

The Hornblows crowd their entertaining- 
over week-ends. They prefer to give small, 
intimate dinner parties, with six to eight 
guests, good food and good conversation. 
Among their close friends are the Fredric 
Marches, Clark Gable and Carole Lombard, 
and a number of Paramount big guns, busi- 
ness associates of her husband. 

She has kept the same servants for years. 
By the loyalty of their servants ye shall 
know them. I know of mansions in Beverly 
Hills where there is a new corps of servants 
every two weeks. 

She told me that at home she usually wears 
housecoats. As I pound out this story on 
my portable, I can see her in a housecoat, 
that most charming of feminine apparels, 
carrying an armful of flowers from her gar- 
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Public Bachelor No. 1 

[Continued from page 41] 

was nothing about his dressing-room to in- 
dicate that its occupant was an actor in the 
big money, and who in real life enjoys the 
reputation of being a Hollywood play boy. 
But if you really knew him in private life, 
it is precisely the kind of dressing-room you 
would expect him to have. Severely mas- 
culine and unadorned, on the comfortably 
careless side, it looked more like the den of 
a life-guard. 

We began by asking him a strictly proper 

"What are your favorite screen roles so 

"Well, I enjoyed my part in Sylvia Scar- 
lett very much. It was my first picture with 
Miss Hepburn." We could see that lady 
doing her hair before the mirror of her 
dressing-room on the other side of the stage 
door. "After a series of bad and indifferent 
pictures Sylvia Scarlett put me back on the 
right road. And of course, I liked The 
Awful Truth tremendously." 

"Do you intend to return to the stage?" 

"I'd like to play on the stage again if I 
had the right opportunity. But I've a flock 
of assignments ahead of me. I have con- 
tracted to make two new pictures at Col- 
umbia, and another one here." 

WE WERE curious to know if he broke 
into pictures on sheer luck and nerve. 
"No, not exactly," he asserted. "I was 
doing fairly well in New York. I came out 
here more for a vacation than anything else. 
I wanted to see California. I knew a lot of 
people out here, due to the fact that Broad- 
way was moving to Hollywood. One day I 
called on my friend, Marion Gehring. He 
asked me if I'd like the experience of making 
a test with a girl in whom Paramount was 
then interested. The test was to be given 
mostly for her, I was to supply the masculine 
foil. But, as it sometimes happens, when 
the studio executives saw the test, they 
offered me a contract. The girl, un- 
fortunately, didn't click. This was wholly 
unexpected. I was intending to go back to 
New York. In fact, I was under contract for 
a show there." 

He seized a shoe-tree that lay on the floor, 
and began to play with it. He has powerful 
hands, browned by the California sun. His 
feet are big, he wears 10j^ size shoes, but 
his hands do not impress you by their size. 
It's their color and the steel-like grip of his 
fingers you notice. Pressing the shoe-tree 
hard in his hand, he continued : 

"There seems to be an impression in cer- 
tain quarters that I bluffed my way to 
Hollywood, that all the stage experience I 
had was walking on a pair of stilts. That 
isn't true. I wasn't just an acrobat when I 
came out here. I was an actor, with years 
experience in a great variety of roles. I've 
been seventeen years in show business." 
Cary, as you see, regards himself a seasoned 

At this moment a young woman brought 
in tea and cakes. "It's a treat from Miss 
Hepburn," Cary informed us. "She serves 
tea for the whole crew every day. Isn't the 
cake delicious?" It certainly was. "You 
know," he said earnestly, "people have such 
a wrong idea of Miss Hepburn. Every stage 
hand who has worked for her is crazy about 
her. She is such a swell egg. She's really 
grand ! So intelligent, and so darn con- 
siderate. Newspaper columnists have been 
very unfair to her. True, she won't cater 
to them, but that's her privilege. Peddling 

gossip isn't a trade that would appeal to 
her. People ask how I manage to work with 
a person they've heard is so temperamental. 
We've always been on excellent terms, I've 
never had the slightest disagreement or 
difficulty with her." 

Before he started working with Constance 
Bennett in Topper, they told him she was 
impossible. But he found her a swell person 
to get along with, too. They had a lot of 
fun working in that picture. Or take Grace 
Moore. She has the reputation of being a 
temperamental prima donna. But he never 
had any trouble with her. "On the other 
hand," he said, "you hear somebody is a 
little angel, and she turns out to be a reg- 
ular vixen." 

"/^ARY," was said, "if you were to look 

^^ at yourself in a mirror, what would 
you say are your good points, and what your 
bad points?" 

"That's a hard one to answer." He 
scratched his ear. "Well, I believe I'm 
tolerant. As I'm far from being perfect 
myself, I don't expect 100% perfection in 
others. I claim that if you can't get 100%, 
settle for 80%. And I'm really a hard 
worker. I take my career seriously, but not 
too seriously. I'm hardly that publicized 
and irresponsible playboy. If you believe 
everything columnists write, then I haven't 
a single care or responsibility in the world, 
and all I do in Hollywood is go to parties, 
now with one girl, now with another." 

"Yes, you are thought of as public bache- 
lor No. 1," we said, and added cautiously, 
that that was going to be the title of the 
story we intended to write. 

"Don't you dare call me that !" he warned. 
"Even if you do think it's a striking title. 
But let me go back to that mirror and tell 
you about my bad points. I talk too much 
when I shouldn't be talking, and keep quiet 
when I should be talking. During inter- 
views, for instance. Writers say I'm tough 
copy, I don't tell them anything. Well, 
damn it, what can you say that would make 
interesting reading? They want to make 
an ordinary incident something tremend- 
ously important and exciting. When you 
come right down to it, who are we actors 
anyway? We don't rate all this fuss and 

"You aren't bored by any chance, are 
you?" we shot back at him. 

"Bored? I should say not! I'm never 
bored. I enjoy everything. I like this 
town, and I like my work. I have no com- 
plaint. And let me tell you that I'm without 
patience for people who bite the hand that 
feeds them." 

THE public bachelor No. 1 expressed his 
philosophy of life in these words : "You 
can get only one crack at life, so I say, 
make the best of it ! Yes, just one crack. 
We're here today, gone tomorrow. I want 
to get that one crack for all it's worth, make 
my brief stay in this funny old world as full, 
harmonious and satisfying as possible. — 
providing that pursuit brings harm to no- 
body else. A man's a fool to be overly proud 
of anything, or take himself too seriously. 
Nothing is too important. Once I was 
locked out of my room because I couldn't 
pay my rent. I know what it means to be 
hungry and have no place to sleep. Today, 
I'm a so-called movie-star, and as I look 
at myself in the mirror. I can't help saying, 
'So what?' Here is the way I figure it out: 


Accept No Substitutes! Always Insist on the Advertised Brand 1 

your work might be important, but the in- 
dividual himself isn't. 

"All you need is a bed to sleep in," be went 
on, "clean surroundings according to your 
sensibilities, and enough to eat, again ac- 
cording to your sensibilities. Even the rich- 
est man in the world can*t sleep better or 
eat more than a ditch-digger. Chances are 
the ditch-digger will enjoy his sleep and food 
a damn sight more than will your rich man. 
My stand-in, Mai Merrighue, has a small 
but comfortable place in which to live. He 
can take his pretty wife and little son to a 
neighborhood theatre occasionally. In other 
words, he can find complete happiness with 
the minimum. Mai sometimes finds me in 
the dumps, and wonders how a guy like me, 
making all this dough, can be so gloomy." 

Flourishing the shoe-tree through the air 
to emphasize his words, he stated emphatic- 
ally, "Actually, I'd do a picture I like for 
nothing if my manager would let me. But 
you can't work for nothing, because it would 
establish a precedent, and be unfair to the 
guy who can't afford to work for nothing. 
I'm not in this business just for the money 
only. I derive a personal satisfaction out of 
acting which you can't measure in terms of 
dollars and cents. Once you satisfy your 
elementary needs, according to your sen- 
sibilities, and put away something for a rainy 
day, money loses its significance. Although 
frankly, the taxes on bachelors are so ter- 
rific, you can't save anything. But I'm not 
kicking. I realize how fortunate I am to be 
able to pay a big income tax." 

"Why don't you get married and save 
yourself the extra taxes on bachelors?" we 

"Why I'm not married? I haven't the 
slightest idea !" He dropped the shoe-tree 
and began pulling his underlip, as he pon- 
dered on this question. "It just hasn't hap- 
pened, that's all." A beatific smile spread 
on his features. 

"Do you intend to marry again?" 

"I .hope so. I'd hate to think I'd be a 
bachelor all my life. It's all right to live in 
single blessedness for a while, while you're 
comparatively young. But is there anything 
more pitiful than an old bachelor? He has 
no real home, no wife, no children and — 
no stability !" 

"So you'll marry again." 

"Definitely, I hope." 

He said, "I haven't the slightest idea," 
when we asked him whom he intended to 
marry. He insisted his requirements aren't 
very high, he isn't looking for the 100% 
ideal girl. He'd be glad to settle for 80%. 
As for the feminine qualities that attract 
him, they are so individual, he said, that you 
can't make general statements about them. 
Every girl has her own set of attractive 
qualities. Do you wonder why he is such a 
sought-after escort and beau, in spite of his 
predilection for change ! But there are two 
things about women he doesn't like: gluey 
lipstick, and baby talk! "I despise make-up 
that is too obvious. I don't like synthetic 
beauty. And I can't stand baby talk." 

HIS current romantic interest is the 
lovely Phyllis Brooks, a young 
charmer under contract to 20th Century- 
Fox. "She is a tremendously good actress," 
he asserted, "and has good solid experience 
behind her. Some day she will be a star, 
I feel sure." 

There was a question in our list we hesi- 
tated to ask, because a studio official con- 
sidered it too personal for us to ask him 
anything about his earlier marital venture 
and question him about the unhappy ending 
of his romance with the blonde Virginia 
Cherrill. But when he told us, "Shoot it !" 
we mustered enough courage to ask him if 

he regretted that marriage, which ended in 

"Not at all, not at all !" he said. "Any 
experience teaches you a great deal, and my 
marriage was an experience, a great ex- 
perience. It made me more tolerant and un- 
derstanding, more human. And it made me 
aware of certain faults which I hadn't sus- 
pected in me before. I am very sorry it 
didn't work out, but I don't regret it." 

To veer the conversation into a lighter 
channel, we asked him how many suits he 
has. He called Mai, who has complete 
charge of his wardrobe, and was the right 
person to answer this question. Mai said 
Cary has twenty-four suits — needs many for 
his work. Mostly browns, a few greys, and 
one black with small dots. Englishmen may 
change their residence and political alleg- 
iance, but they remain forever faithful to 
their tailors. Cary orders his suits from a 
London firm. But he buys most of his acces- 
sories in Hollywood. In shirts, he prefers 
blues and tans. He likes sport clothes, and 
drives an open car — a long, lean, powerful 
machine. He has all the natural ease and 
nonchalance of the well-dressed English- 
man. You are never conscious of his clothes. 

HE STILL shares with Randy Scott his 
famous beach house at Santa Monica. 
Its comfortably furnished living-room and 
three or four bedrooms face the blue Pa- 
cific, and at the cocktail bar Cary and "Randy 
take turns in mixing drinks for their friends 
when they hold open house on Sundays. 
Cary likes to sit at the piano and play senti- 
mental songs, or tunes from his pictures. 
Townsend Netcher (husband of Constance 
Talmadge) and Florence Lake are among 
his close friends. 

Cary's favorite form of exercise is an early 
morning swim in the ocean, and then a sprint 
along the beach in his bathing trunks. That 
glorious coat of tan has been acquired by lying- 
in the sun on a private stretch of white sand 
before his house. He plays badminton and 
a very good game of ping-pong. For re- 
laxation, he goes to the fights or takes 
Phyllis to a movie. 

Cary is an exuberant and impulsive chap. 
He lacks the proverbial aloofness of the 
Englishman. Indeed, he hardly conforms 
to our idea of the Englishman. He looks 
more like an Italian. "All my family is 
dark," he said. "Darker than I am." 

As a courtier, Hollywood's public bachelor 
No. 1 is a born rebel when it comes to such 
formal amenities as sending a corsage of 
flowers to the girl before he takes her out 
for the evening, or at least he is erratic and 
unpredictable in that respect ! "If I happen 
to think of it, I may," he said, but chances 
are he doesn't think of it very often, and 
prefers not to. His idea of a swell date is 
to call the girl on the spur of the moment 
and take her anywhere that promises to be 
interesting, without any previous thought or 
preparation. The real fun is in the spon- 
taneity of the whole thing, in a certain Bo- 
hemian freedom and camaraderie. The girl 
who must have a corsage isn't the kind of 
girl he likes to step out with. 

There was one last question we had to 
ask him. We wanted him to explain why 
he is such a wow with women. He burst out 
laughing. "I'd like to know what makes you 
think I'm such a wow with women !" 

We like Cary's acting. He is tops in his 
line, which is a special brand of light comedy. 
But we like the man himself even better. 
To be sure, he has a fatal fascination for the 
femmes, which we've had many sad oc- 
casions to observe when taking a girl to one 
of his pictures, but he's also a man's man. 
He is our our idea of a guy to knock around 









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And A Little Child Still Leads Them 

[Continued from page 73] 

pictures, and therefore a large group of 
adults, are centered about her. When she 
goes out, crowds jostle for a glimpse of her. 
She is showered with gifts from all parts of 
the world. Her name and face stare down 
at her from a hundred posters. 

It's possible because Shirley was born 
sweethearted. Because, remembering no 
other state of affairs, she takes this one for 
granted. Because her parents, having been 
wise enough to foresee the dangers, have also 
been wise enough to forestall them. 

The studio and all its works form a com- 
partment of their own in Shirley's life. There 
she has a dresser, whose sole concern is to 
see that Shirley's frock is unwrinkled and 
her slippers fresh. That doesn't make her 
feel important. Everyone in the movies has 
a dresser. When she's ready to change, she 
calls for Andy. When they're ready for her 
scene, the assistant director yells : "Hey, 
Temple," or since she's formed her own 
police department, "Hey, Chief," or even, 
"Hey, Cheese," for some wit has dubbed her 
Cheese of Police, which Shirley considers 
the acme of humor. She answers her call 
as promptly as Andy does. That's what 
they're both there for. 

At home she's no movie star. She's the 
Temples' little girl,; and like the butcher's 
or baker's little girl, she dresses herself. She 
has never had a nurse or maid. Before she 
was old enough to get into her own clothes, 
her mother dressed her. At home, when 
someone lights a cigarette, Shirley brings 
an ashtray. When someone asks for a glass 
of water, Shirley runs to fetch it. All this 
is as much a matter of course as having 
Andy to wait on her at the studio. One 
compartment doesn't touch the other. 

THE Temples' close friends are the ones 
they made long before Shirley was born. 
They are not movie people. Their children 
are Shirley's playmates. When they get 
together, Shirley is as important or unim- 
portant as the others, treated with the same 
consideration and casualness. If the young- 
sters have been using the badminton court, 
and their elders decide they've used it long- 
enough, they're shooed off with as little cere- 
mony as if no one had ever heard of a movie 
star. What's more, many a pampered brat 
of my own acquaintance might take a lesson 
from Shirley's good humor under orders. 

She receives innumerable gifts. That is 
beyond Mrs. Temple's power to control. 
She's learned, however, that all whims are 
not made to be gratified. Two years ago 
she took a yen for a script clerk's stop-watch 
and begged for one of her own. Any one of 
a dozen people would have been delighted to 
supply it. Mrs. Temple put her foot down. 
"It's too old for you, Shirley, and too ex- 
pensive a toy." Shirley did without, until 
she began studying fractions. Then, when 
she felt it might be of some reasonable as- 
sistance to her, Mrs. Temple bought her one. 

When crowds gather to wave at her in 
the streets, "it's because they like you, 
Shirley. People like everyone who's in the 
movies." She accepts that statement at its 
face value. She's been taught that she owes 
them gratitude in return, and that she can 
say thank you by waving back, so she waves 
with a will. 

Wee Willie Winkie was the first premiere 
she attended. Conscious of excitement in the 
air, she asked : "What's a premiere, 
Mommy? Is it an honor?" 

"It's an honor to the picture, Shirley. 

Lucky for you, you happened to be in it." 
Thus do the Temples shield their daughter 
from the knowledge that in the eyes of the 
world she's a figure of consequence — a 
knowledge that has turned the heads and 
upset the values of many an adult. 

SHE doesn't dramatize herself. Taken to 
see her own pictures, she's interested 
only in the story. At Heidi she wept through 
the scene where the little girl is refused per- 
mission to go home to "the grandfather." 
She had played the scene, completely un- 
moved. That was Shirley on the set, and 
she had no reason to feel sorry for Shirley. 
On the screen Shirley didn't exist for her. 
She was weeping for Heidi's sorrow. 

They gave her a surprise Hallowe'en party 
at the studio. Nobody asked the electricians 
to wire pumpkins. Nobody asked the prop- 
men to rig up dummies. They are hard- 
bitten, hard-working men. Movie stars 
mean nothing to them. Shirley does,- not 
because she's a movie star, but because they 
like her. If they didn't, though she were 
ten times queen of the lot, wild horses 
wouldn't have moved them to drag a foot. 

The lights went on slowly, and the band 
started to play. Five golden pumpkins 
grinned from a long table. Cardboard 
skeletons dangled on the walls. Down the 
catwalk crept a witch, brandishing a broom- 
stick. Shirley stood spellbound, her eyes 
moving from one marvel to the next. Out 
came three masked figures in weird cos- 
tumes. Forming a ring around Shirley, they 
began to dance. They were Bill Robinson, 
Geneva Sawyer and Nick Castle. Shirley 
didn't know that. Their grotesquerie 
puzzled her, but she hadn't a moment's doubt 
that they were friends. She spoke no word, 
asked no questions, broke into no exclama- 
tions. Recognizing the spirit in which they 
had come, her instant response was to enter 
into that spirit. So, one finger raised, she 
followed the dance and trucked with them — 
a small figure, half smiling, half wonder- 
ing, among three good ghosts. 

An old stagehand, thirty-five years in the 
show business, stood on the sidelines. "Put 
that kid down anywhere," he muttered, "as 
suddenly as you've put her here, and she'll 
rise to the occasion." 

OTHERS feel the same profound faith in 
her, whether the occasion be a Hal- 
lowe'en party, or her future on the screen. 
"She'll never be through," Clark Gable once 
said. "They'll want to watch her grow up 
— riding a bike with her curls flying, gig- 
gling with other girls, primping for the high- 
school dance. They don't get tired of watch- 
ing their own kids, do they? By the same 
token, they won't get tired of Shirley." 

"What do you mean, awkward age?" 
scoffs Zanuck. "Withers is eleven, 
Bartholomew's thirteen, Durbin's fifteen, 
Anne Shirley's seventeen. Where's the 
awkward age? I expect to be making pic- 
tures with Shirley four years and six years 
and ten years from now." 

Only her mother refuses any predictions. 
"Maybe she'll go on with her movie work. 
Maybe she'll marry at seventeen as I did. 
Maybe she'll be a school-teacher. Maybe," 
she smiles, "she'll revert to her earliest am- 
bition and be a vegetable woman. What- 
ever it is, it's up to Shirley." 

We'll guarantee one thing. She won't 
play Scarlett in Gone With the Wind. For 
Shirley, everything else is possible. 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

"Don't Let Hollywood Change You!" Annabella 

[Continued from page 27] 

Anyway, I made up my mind to write 
you a letter when I saw you in Wings of 
the Morning. So I'll sort of bumble along 
and tell you what's on my mind and if, when 
you read it, you tear it up and throw it in 
the waste-basket — well, so would Garbo! 

So, then, when I saw you in Wings of 
the Morning I felt the urge to write to you. 
Fact, as I watched you on the screen I felt 
like standing up on my chair there in the 
darkened projection room and yelling, 
" 'Ware H oil}' wood, Mam'selle, don't let 
it get its gauzy, glamory hands on you!" 

You were so spirited in that picture, Anna- 
bella ; there was a quality of sternness about 
your young beauty, a clean-swept quality, 
very refreshing. You didn't look as though 
you had ever fallen into the clutches of 
"experts," neither make-up experts, nor 
expert "glamorizers," nor expert makers of 
stars in mass production. You looked fresh- 
minted and I hoped your appeal would not 
become blurred and fuzzy. You won't. 

You looked as though you have your feet 
firmly planted on the earth. I should have 
known that you love the earth, love gardens. 
I do know it now because you told me : "I 
will live nowhere unless I can have a garden 
with all kinds of flowers, every kind, flowers 
I plant and tend myself — unless I can have 
a garden where I can plant and tend my 
own lettuces and radishes, beets, sweet-corn, 
beans. . . ." 

I LIKED you especially in Wings of the 
Morning because at no time did you have 
the lush, glamorized, too-much hair, too- 
much eyelashes, too-much lip-goo look of 
so many fair film charmers. You looked, 
even in sleek evening gowns, straight and 
level-eyed and honest. I believed you when 
you said : "I cannot tell the lies, even to 

I liked you when you came to the party 
20th Century-Fox gave for you when you 
first arrived in Hollywood. You came in 
wearing a very simple dress, not a "gown" 
or a "frock" but a dress, and no hat, and 
short white cotton gloves. In the thick of 
all the minks and silver foxes and veils and 
sables and smoke and perfume you stood 
out like a sle-nder blade among a lot of suf- 
focating feathers. There is a kind of stark 
simplicity about you which is arresting. 

I knew that you didn't need any advice, 
any "open letters" from me or from anyone 
else when you told me, that day we lunched : 
"I know I am not beautiful. I cannot be 
beautiful, so I do not try for that. I do not 
trouble myself about that. I do as little as 
possible to myself even on the screen. I 
make myself up and it takes me about fifteen 

"I do not bother to go to the beauty salons. 
I do not care about my clothes. I like only 
to be comfortable. I hate new dresses and 
hats and coats. I am never happy in any- 
thing I wear until I have worn it at least 
one week and then I am at home in it. I will 
not be a slave to what I do, no. I do not 
try to make for myself the sex appeal, the 
glamor, the beauty. These things are not 
for me." 

THAT you do not have to "trouble your- 
self" is perhaps beside the point, Anna- 
bella. The long, jet black lashes framing 
your eyes, as brown and as brilliant as eyes 
can well be, do not cry out for false lashes ; 
your short gold-brown hair does very well ; 
your figure is sufficient unto itself. 

You said : "They have said to me here at 
20th Century-Fox that they do not want to 
change me. It was suggested by someone 
that I have a voice expert, perhaps to take 
away my accent. But I am told : 'No, no, 
we keep experts away from Annabella. 
We have ask Annabella to come here be- 
cause she is Annabella and we keep her 
Annabella.' But I would like to be changed 
a little, anyway, if I can then be more like 
the American girl." 

I think you are a great deal like the best 
of our American girls, Annabella. You have 
the American-girl qualities of honesty and 
plain speaking and love of the outdoors and 
scorn of pretense. 

You always knew what you wanted to be, 
you told me. And you still know. When you 
were a tiny child, at home on your father's 
country estate outside of Paris, you used to 
play games with your mother and father and 
two brothers. You used, always, to play one 
game : You would say : "Maman, I am not 
Annabella, I am Mitzi," or "I am not Anna- 
bella, I am Toinette," or "Maman, I am not 
a girl at all, I am a boy. My name is Jacques." 

You said to me, telling me this : "I always 
wanted change, change all the time, never 
to stay in one place for so long, never to 
stay in one body for so long, never to wear 
always the same face. I wanted life to be 
half a dream. I wanted it to be moving, 
moving, like the seasons and the trees which 
throw off their old leaves and put on new 
ones. And very early I decided that only 
in the cinema could I have this changing life, 
these changing bodies." 

AT HOME, on your vacations, you and 
b your brothers and your cousin played 
always at making movies. You told me that 
you labelled the hen-house the laboratory, 
the chicken-coop you covered with sheets 
and called it the stage, the garden was loca- 
tion. Your older brother was the director, 
wearing his father's puttees and brandishing 
a megaphone, and you and your younger 
brother and young girl cousin were the cast. 
And you always played the heroine or, I 
should say, the heroines. For even then, you 
tell me, you were the despair of your "di- 
rector"-brother. You would not finish a pic- 
ture unless it was finished in one day be- 
cause: "I would be so tired if I had tobe 
the same person, two days in a running 
order !" 

When you left college you wanted at 
once to be in the cinema — but how? You 
did not know and so, you say, you moped 
and pretended you were some figure in a 
tragic drama every day of every week, a 
different figure, every day, Camille, Cleo- 
patra, Juliet, Desdemona. . . . One day a 
guest at your father's luncheon table noticed 
your pensive face across which many moods, 
all of them ranging from gray to thunder- 
black, moved darkly ... he asked your 
parents why you were so quiet and thought- 
ful. And your father said : "She is mad about 
the cinema. She worries continually because 
she is not in the cinema." And the friend 
replied : "If that's her only trouble I can 
cure her right away. I know a director very 
well. He will give her a trial." 

"The very next day," you told me, "I re- 
ported at a studio in Joinville. I had my 
letter to the well-known director. I was 
hired and given small parts and bits. About 
that time Rene Clair was preparing his cast 
for his first great triumph, Le Million. 
[Continued on page 88] 



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[Continued from page 36] 

under a Culver City contract : returned 
years later, to make an outstanding con- 
tribution to film history with his Napoleon 
to Garbo's Marie Waletvska in Conquest. 
No, Gravet (pronounced Grah-vay) was 
not going to be 'Ollywood's football. 

"Last summer in Paris what I wanted 
came about," says Gravet. "I was working 
in a mystery melodrama called Mister Flozv 
and Mervyn LeRoy came to me. The night 
before he 'ad seen one of my cinemas, and 
he said, 'I want you to come to 'Ollywood.' 
'What to do ?' I asked. 'A part in a film that 
I am going to direct. It is called The King 
and the Chorus Girl.' There was something 
to count on, you see? I had something 
tangible promised. There would be no 
taking of that long trip to the United States 
— and it is a long trip, I think, and then the 
delay of waiting to be assigned. I said 
'yes.' " 

On October 21, 1936, Mons. et Mine. 
Fernand Gravet sailed on their first trip to 
America. They arrived in 'Ollywood, which 
they found pleasant enough, on November 4. 
On November 16 the first cameras ground 
on Monsieur Gravet's American debut. On 
February 21, 1937, at a Sunday night pre- 
view at Warners' Hollywood Theatre an 
audience of critics and fellow-workers 
(there's not much difference) decided that 
" 'Merv' had something in his French dis- 
covery." "Merv" had — and under a five- 
year, three-films-per-annum contract. 
Gravet's second film will be the all-Tech- 
nicolor, $1,300,000 Food for Scandal, with 
Carole Lombard. 

WHAT he had was a slim, fairly tall 
young fellow in his middle thirties, 
who was not French but Belgian, born in 
Brussels. He was so far from the precon- 
ceived American idea of a Parisian boitle- 
vardier (he didn't even wear spats) that 
there was disappointment in some quarters. 
"I am a country man," he tells you. His 
eyes are both brown and hazel. Their ex- 
pression is gentle. Only infrequently does 
the left eyebrow flare up, meaningfully, as 
it does in what M. Gravet calls "the cinema." 

As a countryman Gravet divides his leisure 
time, when he is not in Germany or England 
making cinemas, between his townhouse at 
St. Cloud ("It's a suburb of Paris, but we 
seldom get to Paris," he parenthesizes) and 
Gravier, his farm in the Touraine district of 
France. How large is the farm? we ask 
him, and he puzzles a moment before 
answering. The British academies (St. 
Paul's at Hammersmith) where he studied 
while his country was war-torn, have not 
equipped him for instantaneous mathematical 
translations. Nor us. 

"Ten hectare. That would be about . . ." 
he hesitated, with customary charm. It de- 
veloped, later, that an hectare is 2.471 acres. 
Roughly, Gravier, which in ragged trans- 
lation means "gravel," and to M. Gravet 
"river bottom gravel," is about twenty-four 
plus acres. Three rivers, the Loire, Indres, 
Cher, feed the soil. Grapes grow at Gravier, 
and the master has his own wine. Cheese, 
too. He has a splendid racetrack on the 
grounds, and is a worshiper of fine horse- 
flesh. You'd know that. There is some- 
thing kind and quiet and substantial about 
this pleasant-faced actor, with his thick 
thatch of dark hair. There is nothing 
"oo-la-la" about him. 

"Oh, ya-es," he answered quickly. "I like 
'orses." Then, with slight chagrin, he con- 


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In the March issue of MOTION PICTURE. 

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fessed that he had only three. "But I am 
getting more." He also confesses that the 
reason he likes to make his American films 
in the 'Ollywood winter season is because 
the super-fine Santa Anita track is open. 
"On my first trip 'ere, I went to the track 
with Mervyn, and 'e cautioned me not to put 
much money on the 'orses because I didn't 
know what they could do. 'All right,' I said, 
'but you will 'ave to lend me money even for 
that, because I 'ave left the 'ouse without any.' 
And he 'ands me fifty dollars, with a list of 
'orses I should bet on. But I don't like them 
and I decide to play my own 'unches. When 
the races are over all of Merv's 'orses have 
lost and I 'and 'im back his fifty dollars. 
'Didn't you bet, Fernand?' 'e asks me. 
'Ya-es, I bet,' I told him, 'but I didn't use 
your tips. And I 'ave one 'undred twenty 
dollars besides your fifty.' " 

BACK in St. Cloud and Gravier Gravet 
does not gamble. Nor does he bother 
with bridge, chemin de fer, baccarat. He is 
much too busy with his hobby, a recreation 
which brings meaning and inner brilliance 
to his life. He is an authority on the Na- 
poleonic period. Napoleon, by the way, held 
his hand to his tummy that way because he 
suffered from stomach trouble, Gravet in- 
forms. The actor has published a volume 
on Napoleonic uniforms. His farmhouse in 
the French "chateau country," three miles 
from the Chateau Cande where the Duke 
of Windsor married Mrs. Simpson, roofs 
an army of ten thousand tiny tin soldiers rep- 
resenting all the nations of Europe. He 
dotes on re-creating, in miniature, hats, uni- 
forms, boots, of bygone fighting regalia. 

"Do you know why," he asks you, all 
enthusiasm, "they 'ad those 'uge fighting 
costumes in the old days? Imagine the 
enemy crouched for battle, looking up to 
see those great, magnificently dressed war- 
riors coming at them . . ." 

"Psychology?" we 'azarded. 

"Precisely," is his answer. 

What is the cinema world coming to, we 
'azarded again, with romantic actors win- 
ning off-screen acclaim as historians? The 
French Museum of History has recognized 
Gravet's work. America's romance pur- 
veyors, the Gables, Coopers, Powers, blur 
and get out of focus when placed next to 
young Gravet. "But the work is 'ard. You 
would not like it," he continues. "I must 
first go to the regimental headquarters — yes, 
I go myself — and look through their files 
and their dirty, dusty, ancient records." 

When he is not poring over dusty books, 
working in the cinema (he has made more 
than a score of films for French, British, 
German companies in the past seven years), 
drawing and painting archaic war bonnets 
to a scale of about one-twentieth of their 
original size, Gravet, as he has said, is living 
the life of a country squire. "There are 
only two things for a gentleman farmer to 
do, hunt and fish. And when the fishing 
season is over, it is time for the hunting 

THIS evidence of ease may give the idea 
that the young Belgian, with his snap- 
brim green felt hat, his plaid jacket, his 
green twilled trousers (bought of the 'Olly- 
wood taillcur Watson) with matching green 
woolen socks, brown and green handker- 
chief carelessly (with essential chic) tucked 
in his breast pocket, his brown suede crepe- 
soled shoes, cares little for artistic achieve- 
ment. The idea is wrong. 

At the completion of his present termer 
with Producer-Director LeRoy, Gravet, 
whose real name is Fernand Noel Martens 
(he was born on Christmas Day), plans to 
direct. In his youth he relieved his father, 

a Belgian-German actor, of managerial 
duties at Belgium's Galleries Saint Hubert. 
When he completed his first talking film, 
made for UFA in Germany under Robert 
Florey's direction, the earnest young actor 
apprenticed himself to the camera and 
cutting departments to learn about the new 
art form. 

All credit for his amazing likeness (you 
don't detect it in real life) to Edward VIII, 
former King of England, in his first Amer- 
ican film, the popular King and the Chorus 
Girl, is due the actor. "I 'ad an idea," he 
said with charming disregard for the al- 
phabet's eighth letter, "and I said to Mer- 
vyn, 'Look 'ere, let's not do this ex-king as 
a stuffy, uniformed fellow. Let's make him 
like someone who is alive . . . Edward, for 
instance.' So I did, even to the derby hat 
and the yachting outfits. Amazing, too, 
about later events, wasn't it?" The film 
was in production during Britian's turbulent 
December, 1936; finished as Edward VIII 
went into exile. 

IN DOMESTIC life, M. Gravet enjoys a 
privacy that the Duke and Duchess of 
Windsor might envy. He has the conti- 
nental's concern that anyone should want to 
know about his private life. Whose busi- 
ness is it but his own? He has been married 
for eleven years to Jane Renouardt, the 
blonde Parisienne, born in Alsace-Lorraine, 
with whom he r reared in musical roles, 
for he sings, and in drama on the Paris stage. 
Now retired, Mile. Renouardt is pleased 
with her full-time role of Madame Gravet. 
Pleased, too, to respect her 'usband's wish 
that she disregard cinema offers. Their 
marriage, Gravet tells you, is built like a 
business partnership. Unlike many foreign 
marriages Madame Gravet has a voice in its 
management. Robert, their adopted son, 
aged five, who hopes to grow up to be a 
'orseman, rounds out their compact family. 

During the long studio hours, Mme. 
Gravet devotes her time to learning English 
— with astounding results. After her first 
lesson she greeted her husband with "You 
are a 'am !" "Oh, no, darling. You must 
be mistaken," Gravet answered. "There is 
no such word as 'am in the English lan- 
guage." At least not one that a wife could 
apply to her husband. Next day on the set 
he asked LeRoy : "What is this ? My wife 
says 'er teacher told 'er to say I was a 'am." 
They explained. 

Gravet, who borrowed the name of his 
Belgian and Spanish mother ("Three times 
Flanders has been invaded by the Spanish, 
you remember," he reminds) when he turned 
actor, has only a trace of an accent. He was 
in the Belgian ca.-vahl-ry, he says, serving 
his required two years. And the first syl- 
lable of "rfa/m-tist" (dentist) as he pro- 
nounces it bears loving weight. "My wife 
had two appointments at the same time, one 
with her dahn-tist and the other with the 
beauty salon. 'I shall break one for you,' I 
told 'er. 'No. I shall do eet, and spik 
Anglish, too,' she said. So she called West- 
more's salon and this is what she said ' 'Alio ? 
Thees ees Meesis Gravet. Meesis Gravet 
weel not be able to keep her appoint-ment 
because she 'as an appoint-ment wiz anozzer 
body !' " 

Rumor has it that M. Gravet came accom- 
panied by his chic, blue-eyed wife because 
he was afraid of 'Ollywood blondes. Al- 
though he may have been scared to death 
of cinema failure — he admits that his stage 
fright comes after the film is over and there 
is no chance for re-takes — of women this 
slim, pleasant fellow has absolutely no fear. 
And no interest. There is such a thing, un- 
fortunately for 'Ollywood glamor girls, as 
being 'appily married. 

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"Will I Last?" 

[Continued from page 22] 

News, Cafe Metropole, Thin Ice, now In 
Old Chicago with Alice Faye. 

He is rated near the top in the listings 
and statistics of those players most popular 
at the box-office. He is the young White 
Hope of the 20th Century-Fox lot. Every 
move he makes, every place he goes, every 
thing he says is News. He has eaten of the 
Fruit of Fame before it, or he, has really 
had time to ripen. 

TS HE dizzy? No. 

A "Will I last?" he asks himself. And if 
he should ask me that question I would 
answer without quibbling, "Yes." 

It seemed to me that he passed the test 
when he answered the first question I put 
to him across the luncheon table in the Cafe 
de Paris on the 20th Century-Fox lot, as 
he lit my cigarettes, chatted with Irving 
Berlin and Peter Lorre, was courteous to 
the waitress, called greetings to extra girls 
and assistant directors and was so genuinely 
more interested in other people than in him- 
self that I knew, even before we began to 
talk, that there is no danger ahead for 

And then I put my ft A question. I said 
to him : "What is the first, the greatest temp- 
tation you had to meet — and obviously have 
conquered — since you have found yourself, 
like a man hurtled to Mars in a rocket, 
where — well, where you are?" 

And Tyrone answered at once, as one who 
has pondered the question before and knows 
the answer : "Finding myself saying 'I want' 
instead of 'May I ?' " 

He added : "That is always the great 
temptation for anyone who has gained a 
little power too quickly. It is what happens 
to a spoiled child, he demands rather than 
makes requests. It is like any power, the 
whole problem being of use or abuse. There 
is only one hope for those who suddenly 
attain power of any kind — to grow up, to 
learn how to handle power as one must learn 
to handle a high explosive. 

"I found myself making demands instead 
of asking for favors. I soon got over that. 
Fortunately for me I cured myself before 
I was slapped down. I don't think that I 
will ever fall into the error of thinking 
myself wiser than my producer or director. 
Remember, I've had nothing to do with my 
career. Every step I have taken has been 
mapped out for me. All I've done has been 
my very best when I've been handed a script. 
That's ail I've done. Mr. Zanuck has told 
me what to do and if I don't continue to do 
what he tells me to do, I'm crazy. 

"I do believe that one of the best ways 
of 'lasting' in pictures, or anywhere else, is 
to fight off the ego-complex as you would 
a boa-constrictor. Otherwise it will strangle 
the success out of you. And one of the best 
ways of lasting is to resist the temptation 
of believing that you know more than those 
who have knowledge while you were still 
wondering how movies are made. 

"And as for the ego running rampant — 
well, I have only to look around me to realize 
that I am only one of many. For every fan 
who asks for my autograph two more spring 
up and ask for the autographs of Clark 
Gable, Robert Taylor, Errol Flynn, Don 
Ameche, Warner Baxter and so on. I go to 
a cafe, any public place, and the people crane 
their necks to have a look at me and I don't 
have time to feel my head swelling before 
another player comes in and they are doing 
head-twisters in the opposite direction to 


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tion that you are not The One, but one of 
the many. 

"TT THEN I was in New York recently," 

VV laughed Tyrone, "I can't say that I 
was bothered by autograph seekers. No 
howling hordes leapt upon my taxi, not a 
single soul attempted to tear the clothes 
from my back. I'd been told about the wild 
ways in which visiting stars are molested. 
I was a little worried about it. I needn't 
have been. Very few people recognized me 
and the few that did seemed to keep their 
equilibrium and to mind their own business 
admirably. Maybe they were protecting me," 
grinned Tyrone, "maybe I arouse the mother 
instinct, or something. . . . 

"And I think," Tyrone continued, looking 
so young and speaking so wisely, "that my 
theatre background stands me in good stead 
now, even though it seemed, at first, to be 
more of a handicap than a help. For the son 
of a famous father does stand out with a 
handicap — you know, the prejudice about the 
son trying to capitalize on his father's name, 
the prejudice, often well-founded, that the 
son of a famous father is pretty much of a 
flop. But eventually such a heritage works 
out for j'ou. 

"In the first place, I was brought up in the 
orbit of famous names. So that, while I am 
a great respecter of persons, I do not lose 
my balance and fall over backwards every 
time I meet the great and glamorous of 
Hollywood. I've been meeting the great and 
glamorous all of my life. I was raised in the 
atmosphere of backstage. And the founda- 
tion of the theatre is so earthy and real that 
it will always be firm under my feet no 
matter what I build on top of it. 

"I believe that early environment affects 
all the after life. And my early environment 
was the stern stuff of the theatre, the 
Shakespearean theatre. I was bred to the 
tradition that the theatre is hard work, self- 
respecting work, but always work. I first 
appeared, I mean I was first on the stage 
before I was born. My mother, who is, as 
you know, an extraordinarily talented 
woman and actress, once said of me : 'Tyrone 
was a most considerate baby. I was appear- 
ing with Mr. Power in Shakespearean roles 
during his pre-natal period and I worked 
on the stage until two months before his 
birth' — which is amusing. But what matters 
is that I was steeped, before birth and after 
birth, in the Shakespearean theatre. I made 
my very first appearance on any stage at 
the age of seven when, my mother playing 
the leading feminine role in John Steven 
McGroarty's famous Mission Play, staged 
annually at the old San Gabriel Mission, I 
played the role of Pablo, a neophyte of the 
Franciscan padres. There was nothing," 
smiled Tyrone, his dark eyes serious, "noth- 
ing flibberty-gibberty about my foundation. 

THE theatre was no light matter to my 
family, to our friends. My work is no 
light matter to me. I mean, I zvork. I am 
not one of those who take it casually as a 
good racket. I study my scripts, I try to 
work out the development of the character 
I am to play, I try to co-operate with the 
studio, with the photographers, interviewers, 
in every way possible. I don't mind what is 
printed about me in the papers. I'll stand 
back of anything so long as it is true. I do 
object to stuff being printed that hasn't even 
a thin little basis in fact. But even then, I 
don't worry especially. I know all about 
'nine day wonders.' I know that what is 
read today is forgotten tomorrow. I don't 
believe that publicity can make or mar your 
career unless it is sustained and pretty 
bad. . . . 

"The fan letters I get keep my head clear 
and my hopes earnest. When I read a letter 
which says: 'I just want to thank you for 
the happiness you have given me,' I feel 
not only grateful, but awfully responsible. 
Because the ability to give happiness is a 
responsibility, a big one." 

TYRONE believes one of the best ways 
of lasting in pictures is to grow up, to 
use youth wisely while you have it but to 
make preparations for relinquishing it when, 
in the inevitable course of time it fades. And 
he believes that working in pictures does 
mature you. He said : "When I was in New 
York I went to call on a friend of mine, a 
girl I hadn't seen since I came to Holly- 
wood. I asked her whether she thought I 
had changed. She said : 'Yes, enormously.' 
That kind of scared me. I asked : 'How ? 
How have I changed?' And she said: 'You 
have grown up. You have acquired poise.' I 
thought I had, but I wasn't sure. I know 
that I am able now to meet and talk with 
all kinds of people, able to meet situations 
and face problems that would have floored 
me two years ago. 

"I often think that instead of people 
giving other people advice on How To 
Gain Self-Confidence they should give 
advice on How To Be Successful. Be- 
cause only when you have attained a cer- 
tain measure of success can you have any 
self-confidence. You can't be self-confi- 
dent until you are successful. 

"I think my desire to learn things in pic- 
tures and from pictures will help me to last, 
too. I always try to learn from the char- 
acter I play. 

"I worry only about my job and how I do 
it, and leave the rest to the other players 
and the studio." 

I ASKED him: "What about getting 
married? Do you think marriage would 
endanger your career, have any effect upon 
your staying power?" 

"I doubt it," said Tyrone thoughtfully. "I 
think a beginner getting married depends, 
as all major questions do, entirely upon the 
individual. It all depends on how you ap- 
proach your work, the kind of thing you 
are trying to do." 

I said : "Well, then, are you going to get 

"I don't know," he answered so honestly 
that I knew that he didn't know — yet. "I 
can't make any statement about it because 
I honestly don't know at this moment. It's 
an awfully difficult question to answer, as I 
well know. Because when I was asked in 
New York whether Miss Gaynor and I were 
to be married and I said something about 
working so hard I couldn't answer, some- 
thing was printed to the effect that my 
career was so important to me I had no time 
for marriage. I can only say that there's no 
way of predicting anything where the emo- 
tions are concerned. Two people in love 
are like an elastic band, they go along, 
apart, in parallel lines for a long time and 
then, suddenly, there is a snap and they come 
together. I'll say this, if I did know now 
that I am to be married, I'd say so." 

(It seems to be the belief, in Hollywood, 
that Tyrone and Janet Gaynor will be mar- 
ried, sooner or later. And I gathered, from 
what Tyrone said and the way he said it, 
that that is his own belief. Those who know 
them best say that they are in love, that it 
is not a boy-and-girl romance.) 

"I can only answer the question 'Will I 
last ?' " Tyrone said, "by saying that if hard 
work, believing that the Boss knows more 
than the employee, remembering that I am 
not One, but one of the many helps, I'll go 
on like the good old brook forever." 


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'Don't Let Hollywood Change 
You!" Annabella 

[Continued from page 83] 

Someone mentioned me to him. Rene Clair 
sent for me and gave me a screen test and 
I was assigned the leading feminine role." 

You didn't need to lead me up the swift 
steps of your career after that, Anna- 
bella. I knew all about the acclaim with 
which your work in Le Million was received. 
I remembered some of your subsequent tri- 
umphs, too. 

I knew that you had come to Hollywood 
before, some two years ago, wasn't it, when 
you made the French version of Caravan 
with Charles Boyer? And right on this same 
lot, too. 

And your career and your personality 
match, Annabella. Both are of a piece, defi- 
nite, clean-cut, uncomplicated by doubts or 
detours of any kind. You always know what 
you zvant. 

You did not want to come to America, 
accept your long-term contract, without your 
mother. And so your mother is living here 
with you. Your mother did not want to leave 
your sixteen-year-old brother and so he is 
here with you, too. Your father, who retired 
last year, you told me, will soon join you. 
And your husband, you hope — and how much 
you hope was written legibly in your eyes — 
will be with you, too, before Christmas. 

You like friends about you, but not too 
many people ; you like to go out occasionally. 
You went to the premiere of The Hurricane 
and had more thrill out of watching "all the 
movie stars coming in" than in watching the 
picture ; you said : "I do like to go out, but 
not very often." You drive your own 
car because : "I do not like to have anyone 
do anything for me, I do not like the feeling 
of someone waiting for me. . . ." 

You are sensitive to and appreciative of 
the generosity of spirit of others, for you 
said to me : "My husband wanted me to 
come here to Hollywood because he thought 
it would be good for me, not for him. He 
is a nicer person than I am, my husband." 

YOUR first picture on the 20th Century- 
Fox lot will be Jean — and Bill Powell 
will co-star with you. I've heard it said that 
you specially asked for Bill Powell, Anna- 
bella. I don't know how true that is, but 
true it should be for it's certainly very wise, 
very discriminating. And you are both wise 
and discriminating, Annabella. 

I said to you : "Were you at all afraid to 
come to Hollywood this time?" and you 
said : "Oh, no. Not afraid. I did not know, 
it is true, how happy I would be this time. 
I was not so happy when I was here before. 
I think that was because I did not speak the 
language then. 

"But I am not afraid, ever, in my work. 
I am a little shy, yes. I hated just now to 
enter the commissary here, the Cafe de 
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am shy in my personal contacts. But I am 
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I hope you will not change in this respect, 
either, Annabella. Don't allow yourself to 
be crushed out of shape in roles that do 
not fit you, that cramp your style and break 
your spirit. 

So, even though it is unnecessary, I'm 
going to say it anyway . . . DON'T LET 


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The Talk of Hollywood 

[Continued from page 47] 

rassing situation at the premiere of The 

Norma arrived at the theatre at the same 
time as Zorina, Goldwyn's new star, was 
making her first formal Hollywood appear- 
ance. And both girls were wearing the same 
evening costumes. But Norma, in a char- 
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Chips From Hollywood Pile 

• [ Joan Blondell spends her time between 
scenes doing the rhumba — thinks it 
takes the excess off those certain places . . . 
because tales of the boogy man were used to 
make her mind as a child, Glenda Farrell 
still sleeps with her light on . . . when she's 
nervous, Olivia de Havilland pulls her eye- 
brows — and when she eats, she waves her 
fork in the air . . . if you invite Jimmy 
Stewart to a party, you'll get his accordion, 
too — and he insists on playing it . . . altho' 
you'll never see them, because he only wears 
them offscreen, George Brent owns six pairs 
of glasses. He's absent-minded about where 
he leaves them, so he has spares planted all 
over the house . . . tough hombre Leo 
Carrillo munches "Spanish strawberries" 
between scenes (red peppers, to you!) . . . 
Pat O'Brien uses green ink in his fountain 
pen. It's the Irish in him . . . akho' most 
people have forgotten that they're still mar- 
ried, Connie Bennett has her husband's, (the 
Marquis) royal crest on the door of her 
limousine . . . Peter Lorre keeps himself 
hungry following dietary fads. Right now 
he won't eat apple peelings . . . regularly 
every 30 days, Rita Johnson receives a small 
keg of Eastern kippers. They're a gift from 
a Gloucesterman fan . . . because he is con- 
stantly afraid he'll forget something, Lyle 
Talbot invariably returns to his house when 
he gets as far as the garage, to check up on 
handkerchief, cigarettes and the right pair 
of socks . . . Mae West likes nothing better 
than to listen to the latest Mae West jokes 
— they're generally news to her . . . Wally 
Beery is a napkin-under-the-chin tucker- 
inner . . . Loretta Young's fashion pictures 
are always posed to the tune of a 
phonograph . . . 

So Proper Don'tcherknow 

When Garbo really wants to b; alone, 
she takes herself to Palm Springs and 
stays at Eddie Goulding's estate. Eddie 
has a large place down there, with several 
guest bungalows — but it is understood when 
la Garbo is there he keeps everyone else 

But the other day Eddie forgot. He told 
the Earl of Warwick that he could use one 
of the bungalows. The Earl and Garbo met 
in the swimming-pool, but being very nice 
people they wouldn't speak because they had 
never been introduced. Garbo finally left, 

and when she got back to town, called Eddie 
to find out who the strange man was who 
wouldn't speak to her. 

Can Now Sing "Wagon Wheels" 

Jj| Little Judy Garland is the proud pos- 
sessor of her first portable dressing- 
room. It's only a tiny square green-room on 
wheels — nothing elaborate or fussy. But 
it's the one Judy wanted. It used to belong 
to Marie Dressier. 

Cuppa Coffee At The "Trie" 

| There's a new cafe in Hollywood. It's 
"The Tric-Adero, where the stars eat !" 
It's only one of those little quick-lunch 
places squeezed in between two walls. But 
the other day Tyrone Power was late to a 
radio rehearsal and stopped in for a quick 
cup of coffee. Five minutes after he left the 
owner-cook-waiter had his "Eats" sign 
down and "The Tric-Adero" in its place. 

New Matrimonial Bark 

| John Barrymore and his Elaine have 
certainly shown Hollywood they can 
take it. During the past year, John has 
made seven pictures, appeared on the radio, 
and has paid off the greater part of debts, 
which last spring totaled well over $160,000. 
And now John has purchased a new yacht 
to take the place of Infanta which he was 
forced to sell at a Federal court order. The 
new craft — Infanta II — takes only three men 
for a crew in place of the thirteen required 
for its predecessor. And as soon as John 
can get time off from pictures, he and Elaine 
are taking a well-earned cruise to Mexican 

New Horsewoman 

| Joan Crawford has finally conquered her 
greatest fear — horses. Joan has never 
been on a horse because she has always been 
deathly afraid of them. But she is now 
taking riding lessons, and don't be surprised 
if you see her do some galloping in one of 
her future pictures. 

The Old "Viva" 

| That was Mexico City's welcome to 
their own Lupe Velez that made so 
much noise a few weeks ago. Lupe hadn't 
been home for over eleven years — and when 
the crowd of ten thousand people got through 
with her at the station, she had scratches 
on her hands, bruises on her head, and had to 
jump on behind a motorcycle cop and be 
rushed to her hotel to escape the mob. 

But No Shrinking Violet 

H Rosalind Russell says she is shrinking. 
She insists that every picture she makes, 
she shrinks. During the making of her last 
picture, Roz lost ten pounds, and the only 
explanation she has is that the intense heat 
of the lights on the set cause a sort of de- 
hydration to take place with subsequent loss 
of weight. But don't worry — she gains it 
all back between pictures. 

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When Answering Advertisements, Please Mention February MOTION PICTURE 


[Continued from page 72] 

Joe Mankiewicz consoling him- 
self with cx-gal friend Florence Rice, 
while current-gal friend Loretta 
Young is in New York ... Ivan 
Lebedoff and Gloria Spreckles ... 
Jimmy Blakely and Mary Carlisle, 
again . . . Anita Louise and Buddy 
Adler, the playwright ... Mitzi 
Green (yep, she's grown up now) and 
Harold Minsky, son of the strip-tease 
Minskys ... John King, Binnie 
Barnes' ex, and New York socialite, 
Frances Robinson . . . that man about 
town, Mack, the Killer, Gray — George 
Raft's pal — has found another lovely 
to keep him occupied. This time it's 
Janet Reed, a Broadway model ... 
and while we're speaking of George 
Raft — it's still Virginia Peine, and 
right now she's busy interior-decorat- 
ing his house ... all the young unat- 
tached gals of Hollywood might just 
as well give up romantic thoughts con- 
cerning Jon "Hurricane" Hall — be- 
cause Jon is spending all his time with 
the Countess (Party-Giving) Dorothy 
di Frasso ... Judith Allen, the ex-Mrs. 
Jack Doyle, and Eddie Sutherland 
should be watched. There must be 
something to it when they dined five 
times in one week together , . . Ruth 
Hilliard, who would be Mrs. Jimmy 
Ritz if she could choose between that 

and her movie career, may have 
changed her mind. Because right now 
she is spending all her time again 
with Jimmy . . . Katharine Hepburn 
and Doug Fairbanks, Jr., spending all 
their lunch hours together on the 
RKO lot . . . Helen Menken, flying 
out here for a screen test, having her 
hand held on the plane by her first 
husband, Humphrey Bogart, who is in 
the middle of a divorce from his 
present wife. All very confusing — 

Leah Ray knows swing songs an' torch 
tunes. Old Oaken Bucket isn't one of 'em 


It isn't so funny to funnyman Hugh Her- 
bert to be tugged along by his sheep-dogs 

particularly when you consider that 
the gossips would have it that he's 
waiting for the completion of that di- 
vorce to marry Mayo Methot . . . an- 
other divorce-waiter-outer is Jean 
Negulesco, and when it is final he and 
Binnie Barnes will probably become 
mrandmrs . . . Eddie Anderson has just 
received his final papers and he and 
Shirley Ross are planning to get mar- 
ried practically right now ... Isabel 
Jewell and Owen Crump doing retakes 
on their romance. It's so serious this 
time that Isabel appeared on Owen's 
radio program the other night as an 
off-stage "voice" — without mention or 
salary. And when a star does that, it's 
just got to be love ... 

Other hand-holding twosomes in- 
clude Dick Baldwin and Lynn Bari . . . 
George White and Edna Mae Jones, 

To keep her sylph-like figure that-a-way 
Fay Wray practices with a medicine ball 

one of the Goldwyn lovelies . . . Joan 
Woodbury and William. Carlson ... 
Dorothea Kent and Jerry Brand ... 
Designer Eddie Stevenson and Patsy 
Kelly ... Allen Curtis and Priscilla 
Lawson ... Claire Trevor and Clark 

THERE is only one thing that's keeping 
Shirley Deane from going altar-ward 
with Russell Bowditch, cameraman. And 
that's a clause in Shirley's 20th-Fox contract 
that says no can do. 

EVER since Charlie Farrell and 
Virginia Valli were married five 
years ago, Hollywood has had them 
divorcing. They figured that no mar- 
riage could last while the principals 
were separated so much of the time — 
Charlie making movies in Australia 
and England, while Virginia stayed in 
Hollywood or New York. 

But finally Charlie has tired of all 
the concern about his private life, and 
has given Hollywood the answer to 
Virginia's and his successful marriage. 
It's an amazing five-year plan whereby 
either of them may accept a pro- 
fessional engagement here or abroad, 
each shall carry on his own social 
activities, and both must spend the 
winter in California. 

OUT in the open or in hide-out nooks 
Cary Grant holds hands with Phyllis 



College Graduate? 
Not Me 

IT is a real thrill to know others consider you well 
educated. When the boss compliments you on your 
knowledge it's an event. A raise is just around 
the corner! 

College graduate, high school graduate or grade 
school graduate, you must keep adding to your store 
of knowledge. An educated person never stops learn- 
ing. The problem of just what to read to gain 
this education— to round out a background 
that will bring you friends and make you ad- 
mired—has been solved! 

Get a copy of PHOTO-FACTS at any newsstand. 
This monthly magazine is edited for the express 
purpose of improving your mind. The magazine's 
text and pictures will hold your interest as does 
the most thrilling novel. Called by educators "the 
pocketbook of knowledge," PHOTO-FACTS is gain- 
ing thousands of readers every day. 

'It is a real compliment, Mr. Walker, that you 
thought me a college girl. 

'Truth is, my formal education stopped in high 
school. I continue to add to my useful infor- 
mation, however, by reading PHOTO -FACTS 
magazine. I call PHOTO-FACTS my 'newsstand 
university'. " 

If your newsdealer is sold out, send twenty-five cents in stamps or coin to PHOTO-FACTS 
22 West Putnam Avenue, Greenwich, Conn., and the February issue will be sent postpaid 

■HHiHnHffiBi _ ' : :_ -"*-&. _ 

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Copyright 1938, Liggett & Myers Tobacco Co. 

ceo -1 1938 , ~ r. 

" tD \ ©C1B 366569^ 


Yes, what about Robert Taylor? 
He is the star who is interesting 
you at the moment. Will he marry 
Barbara Stanwyck soon? What 
does he have to say about London? 
And the new home he is building 
in Hollywood? These burning 
questions are answered in the big 
April issue of MOTION PICTURE. 
There are also sparkling stories 
about such top-notch stars as 
Nelson Eddy, Alice Faye, Loretta 
Young and Sonja Henie. The 
issue will be crammed as usual 
with fine pictorial pages of your 
favorite stars. Order your April 
copy now from the newsdealer 

Motion Picture Combined with MoviE Classic is 
published monthly by Fawcett Publications, Inc., at 
Louisville, Ky. Executive and Editorial Offices, 
Paramount Building, 1501 Broadway, New York 
City, N. Y. Hollywood Editorial Offices, 6331 
Hollywood Blvd., Hollywood, Calif. Entered as 
second-class matter at the post office at Louisville, 
Ky., under the act of March 3, 1879. Additional 
entry at Greenwich, Conn. Copyright 1938 by 
Fawcett Publications, Inc. Reprinting in whole 
or in part forbidden except by permission of 
the puhlishers. Title registered in U. S. Patent 
Office. Printed in U. S. A. Address manuscripts 
to New York Editorial Offices. Not responsible for 
lost manuscripts or photos. Price 10c per copy, 
subscription price $1.00 per year in U. S. and 
possessions. Advertising forms close the 20th of 
the third month preceding date of issue. Advertis- 
ing offices: New York, 1501 Broadway; Chicago, 
360 N. Michigan Ave.; San Francisco, Simpson- 
Rcilly, 1014 Russ Bldg.; Los Angeles, Sinipson- 
Reilly, Garfield Bldg. General offices, Fawcett 
Bldg., Greenwich, Conn. 









Combined With 


MARCH, 1938 

Twenty-seventh Year 

Cover portrait of Myrna Loy painted by Zoe Moiert 

On To Hollywood With Movieland Tours 14 

"I Ran Away With My Husband" — Bette Davis Carol Craig 21 

Temptations I've Faced In Hollywood — Clark Gable Gladys Hall 24 

She Doesn't Say Yes, She Doesn't Say No (Barbara Stanwyck).. Harry Lang 29 

In Their Parents' Footsteps Leon Surmelian 30 

Who's Whose In Hollywood James Reid 34 

Rough-Ridin' Romeos Herb Cruikshank 42 

Even His Best Friends Don't Know Him (William Powell) Dan Camp 27 

Don't Be Afraid Of A Broken Heart — Olivia de Havilland Sonia Lee 32 

That Nasty Man (Basil Rathbone) Dorothy Spensley 33 

Clark Gable's Film Find (Dennis O'Keefe) Ted Magee 37 

You Don't Need Beauty To Be A Star — Beatrice Lillie Ida Zeitlin 38 

A Fireside Chat With Little Caesar (Edward G. Robinson) Al Knight 48 

Myrna Loy '9 

llona Massey 20 

Frances Dee 22 

Marjorie Weaver — Rochelle Hudson 26 

Spencer Tracy 28 

Vera Zorina 36 

Andrea Leeds 49 

Sonia Henie 50 


The Talkie Town Tattler Harry Lang 6 

Prize Letters ° 

Picture Parade '2 

Future Favorites: Allen Brook Craig Morgan 15 

Future Favorites: Gordon Oliver John Schwarzkopf 17 

The Talk Of Hollywood 44 

Men Behind The Stars — Wesley Ruggles 62 

Fashion Flashes ^v 

Face Value Denise Caine 52 

Glorify Your Canned Vegetables! Mrs. Christine Frederick 54 

Art Director 

Western Editor 

Staff Photographer 

Feverish? Grippy? 


Mt M\HG«lS 


Cold germs may go UP into the sinuses 
orDOWN into the bronchialsand lungs 
and lead to a serious illness. If fe- 
verish or grippy, see doctor at once/ 



Doctors warn that colds can lead to seri- 
ous illness — to ear and sinus infection, 
and even pneumonia. So don't take a 
chance. Treat the symptoms of a coming 
cold effectively and without delay! If you 
feel feverish or' grippy see your doctor at once! 


Forthe most effective "first aid," kill the cold germs 
that cause raw, dry throat. At the first sign of a raw 
throat cold, gargle with Zonite. Zonite does 3 jobs 
for you: (1) Cleanses mucous membranes. (2) In- 
creases normal flow of curative, health-restoring 
body fluids. (3) Kills cold germs present in the throat 
as soon as it comes in actual contact with them 

In a test to find out the germ-killing powers of the 
nine most popular, non-poisonous antiseptics on 
the market, Zonite proved to be actually 9.3 times 
more active (by standard laboratory tests) than the 
next best antiseptic compared! This means economy 
because you use Zonite diluted! Zonite goes far- 
ther—saves you money. 

Use 1 teaspoon of Zonite to one-half glass of water. 
Gargle every 2 hours. Zonite tastes like the medi- 
cine it really is. Soon your throat feels better. 


Get Zonite at your druggist now. And at the first 
sign of rawness in your throat, start gargling at 
once. But remember: If you are feverish, consult 
your doctor! Don't risk a serious illness. 


by standard laboratory tests 






m. 1" 1 



JmJ 73 


M T T L E R 



the breathlessly-broadcast "scoop" by 
one of Hollywood's radio chatterers, who 
shouted to the short-and-long-wavers that 
Anna Sten was "holding hands" with one 
Dr. Eugen Frenkc at a Hollywood night 
club . . . ! They've been married ten years ! 

Director Willie Wyler and Mary 
Maguire — 

Perfectly fitting that rhymes with 

LOOKS as though the Glenda Farrcll- 
Drew Eberson cooling-off is definite, 
this time. It's been one of Hollywood's 

longtime twosomes, and bets were once 
odds-on that they'd mrandmrs up the altar 
path. But winter's here, and Glenda is pass- 
ing the evenings with Ronald Reagan or 
Bob Harrington, while Eberson is finding 
other film charmers to help him tote the 


I WARNED you that Shirley 
Temple couldn't hope, much 
longer, to escape Hollywood's ro- 
mance-gossiping. And now it's hap- 
pened. Vacationing at Palm Springs, 
Shirley was introduced to Charlie 
Chaplin, Jr. They played tennis 
together. And forthwith, the Holly- 
wood columns gigglishly reported a 
new movieland romance . . . ! 
[Continued on page 8] 

One of the first stages of couples who are "just married" is to find hubby feed- 
ing wifey with his fork. And so Jackie Coogan does the honors for Betty Grable 

Accept No Substitutes ! Always Insist on the Advertised Brand ! 



$15 Prize Letter 

A COMEDIAN is born ! Accidents will 
happen, but somehow we're never pre- 
pared for 'em and they're a big surprise 
when they occur. What am I talking about ? 
The hit made by Cary Grant in The Azvfitl 
Truth, of course. This fellow has been 
hiding in stuffed shirt parts and most of us 
thought he was only another leading man 
'till someone had an inspiration and cast 
him as a husband with a sense of humor. 
And he came across like nobody's business. 
And he didn't overplay the role either. At 
the performance I attended they were carry- 
ing 'em out in hysterics — old-time hard- 
boiled customers, too — and it got so that 
every time Cary hoisted an eyebrow there 
were titters. But, when he stuck the wrong 
derby on his head and it fell down over his 
ears, the howls shook the chandeliers. I 
had it all doped out to commit suicide when 
1937 passed on but I guess I'll wait a little 
longer now. Cary may do it again and I'd 
sure hate to miss him. — C. 1. Dunlop, Gen- 
eral Delivery, Vancouver, Canada. 

$10 Prize Letter 

A 1 

T LAST the exquisite Garbo has become 

an artist. 


Greta Garbo 

Conquest proves it. For 
I have watched Garbo — fascinated. 
Her beauty has thrilled 
me, but her experiences 
never stirred me. I have 
watched not a person but 
a poem ! Her acting has 
exhibited great artistry 
but hitherto she has not 
been an artist. But, Garbo 
has now become a part of 
the drama — she is now at 
one with the struggle. She 
has at last learned to 
move on a level with the other actors and 
she has become a person, not a spectacle. In 
Conquest Garbo has reached the heights. 
At the moment when Napoleon leaves her 
for the last time, we were so touched by the 
strength of a great love that we were not 
thinking of Garbo, but of all women. This 
is art. It has touched the universal note.— 
Leah B. W hidden, 66 Orange Street, Brook- 
lyn, N. Y. 


$5 Prize Letter 

HOLLYWOOD really has something in 
Andrea Leeds. She isn't just one of 
those "finds" that have only a pretty face to 

their credit — she can act ! I think I shall 
never forget her role as Kay in Stage Door. 
She is truly a great actress and I am sure 
it certainly won't be long before she is one 
of the best in Hollywood. Her role was so 
impressing and so realistic that I lived every 
moment of it with her. The 
look in her eyes as she 
climbed the stairs to her 
death — her expressions — ■ 
everything, was carried 
out to perfection by this 
up-coming girl. I wish 
that all the talent scouts 
would pick them as good 
as Andrea Leeds. — Muriel 
Kalomvck.P. 0. Box 151, 
Sea Bright, N. J. 

Andrea Leeds 

$1 Prize Letter 

THAT coveted Academy Award — on 
whose mantel shall Oscar rest? Inviting 
certain comment to the contrary, and in all 
due deference to Paul 
Muni's magnificent por- 
trayal of Em He Zola, I 
stili can't deem it far 
different from Louis 
Pasteur and this is far 
from faint praise. Charles 
Boyer's memorable May- 
erling and addedly amaz- 
ing Napoleon of Conquest 

c t should find him vieing for 

Spencer Tracy hon?rs _ ^ wha * of 

Spencer Tracy's moving Manuel, so surely 
of the ilk of Captains Courageous? How 
many will share justified Fury if the Priest 
of San Francisco doesn't receive the recog- 
nition he so richly merits? — Mary B. 
Lauher, 119 W. Abbottsford Ave., Gcriuan- 
tozvn, Philadelphia, Pa. 

$1 Prize Letter 

SEE a good picture twice ! I don't mean 
sit through two shows with all the trim- 
mings — newsreel, cartoon, etc. — but see the 
picture again a few weeks or months later 
and you'll enjoy it even more. The first 
time you see a picture, it's more or less a 
sensation, but after seeing and hearing it 
again you derive the full benefit. You are 
often enchanted by your favorite actor or 
actress and you don't enjoy anything else; 
or the music is so engaging, you overlook 
the story. Or you may be fascinated by a 
specialty act and forget the conflict. So be 
sure and see a good film twice in order to 
enjoy it completely. On my "see-again- 
list" are Good Earth, White Angel, Captains 
Courageous, Thin Ice, 100 Men And A Girl 
and Eniile Zola. — Fanny Schuelein, 1002 N. 
Rexford Drive, Beverly Flills, Calif. 

$1 Prize Letter 

I'M COMING in ashooting and both my 
guns are aimed at those editors, radio 
commentators and reporters that persist in 
making wisecracks about 
the one and only Nelson 
Eddy. When are they go- 
ing to get wise and learn 
that the way to endear 
themselves to their public 
is definitely not to pan our 
favorite stars ? We think 
they're swell so why can't 
they let it go at that? 
M . _ , , Just as soon as we fans 
Nelson Eddy get Qur ^^^ set on some 

star they start handing out dirty digs about 
them. And believe you me, we have our 
hearts set on Mrs. Eddy's little boy Nelson 
in a big way. Personally, I think he's tops 
and I'm only one of many. So beware, we're 
on your trail. Get wise and stop panning 
our beloved Nelson Eddy. — Mildred Von 
Hoven, 1134 Arabella St., New Orleans, La. 

$1 Prize Letter 

IN THE face of favorable criticism in the 
Press regarding the current opus, The 
Awful Truth — to which we heartily sub- 
scribe, as far as cleverness and characteriza- 
tion are concerned — we rise to protest the 
sectional ridicule evidenced in the piece. To 
our mind, this practice of depicting Mid- 
westerners, individually and collectively, as 
unmitigated Boors doesn't become a film 
built for national patronage. 'Tis a dish, 
we feel, that has been warmed-over too 
often. Speed the day, when the two bright 
people of this hinterland, who don't stand 
agape in the presence of conventions as pur- 
sued along the Atlantic Seaboard, will col- 
laborate upon a little sauce for the gander. 
True, it may require concentrated effort to 
locate Park Avenue Babbitts, who will fit 
into the picture, but, with diligence, even 
this appears possible. There must be a moral 
here; namely, that lashes to the thickest 
of skins, will eventually invite retaliation. — 
D. D. Welty, Q02 National Reserve Build- 
ing, Topcka, Kansas. 


Your opinions on movie plays and players 
may win money for you! Three prizes — 
?15, ?10 and $5 — with ?1 each for addi- 
tional letters printed — are awarded every 
month for the best letters received. In 
case of a tie, duplicate prizes will be 
awarded. And remember: no letter over 
one hundred and fifty words in length will 
be considered! Address your entries to 
Letter Page, MOTION PICTURE, 1501 
Broadway, New York City. 

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[Continued from page 8] 

Trimmed for action while pushing a lawn-mower is Judith Allen of Telephone 
Operator. She is ex-wife of pugilist Jack Doyle, ex-wife of wrestler Gus Sonnenberg 

and then, but the night-after-night program 
is definitely off. Instead, Marlenc seems to 
be reverting to her old standby, Goldbeck, 
who seems to be edging Doug Junior out of 
the picture but definitely. 

Jack Kapp and Delia Lind— 
Looks like romance is in the wind! 

THE "we're-still-good-friends" stage of 
the Barbara Stanwyck-Frank Fay di- 
vorce seems to have passed, and they've 
reached the stage of going to court over 
custody of their adopted son, Dion Anthony 

Fay started it, with a superior court order 
citing Barbara into court to show cause 
why he should not be allowed to see little 
Dion, who lives with her. Fay complains 
that Barbara won't let him visit or talk to 
the boy, despite his constant efforts, and 
concludes : "I've been put off, put off and 
ignored, and I've only stood for this treat- 

ment because of my great love for the boy 
and my desire not to involve him in any 
publicity or to confuse his young mind — but 
I do not intend to permit anyone to cause 
him to forget me." 

DESPITE such tangles as the one 
up above, where Mary Pickford 
and hubby Buddy Rogers found them- 
selves surrounded by various ex's, the 
Pickford-Rogers marriage is working 
out so sweetly that it's utterly con- 
founding those Hollywood calamity- 
howlers who predicted it wouldn't last. 

They're too, too happy in their tiny 
Beverly Hills house — a house about 
one-tenth the size of great Pickfair. 
And to top it all, Mary's going 
domestic — even to the extent of going 
to the butcher's on cook's day off, 
picking out a steak herself, and then 
cooking it for Buddy with her owney- 
wowney hands. 

And I wonder what Doug Fair- 
banks, Senior, thinks of that !?!? 
[Continued on page 58] 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 


Foolish words of a popular song. But there's truth in 
them. In his heart, every man idealizes the woman he 
loves. He likes to think of her as sweetly wholesome, 
fragrant, clean the way flowers are clean. 

Much of the glamour that surrounds the loved woman in 
her mans eyes, springs from the complete freshness and 
utter exquisiteness of her person. Keep yourself whole- 
somely, sweetly clean! 

Your hair, and skin, your teeth— of course you care for 

them faithfully. But are you attending to that more intimate 
phase of cleanliness, that of "Feminine Hygiene"? Truly 
nice women practice Feminine Hygiene regularly, as a 
habit of personal grooming. Do you? It will help to give you 
that poise, that sureness of yourself, that is a part of charm. 
The practice of intimate Feminine Hygiene is so simple 
and so easy. As an effective cleansing douche we recom- 
mend "Lysol" in the proper dilution with water. "Lysol" 
cleanses and deodorizes gently but thoroughly. 

You must surely read these six reasons why "Lysol" is 

recommended for your intimate hygiene— to give 

you assurance of intimate cleanliness. 

surface tension, and thus vir- 
tually search out germs. 

4 — Economy. . . "Lysol", be- 
cause it is concentrated, costs 
only about one cent an appli- 
cation in the proper dilution 
for Feminine Hygiene. 

1 — Non-Caustic . . . "Lysol", in 
the proper dilution, is gentle. 
It contains no harmful free 
caustic alkali. 

2 — Effectiveness . . . "Lysol" 
is a powerful germicide, active 
under practical conditions . . . 
effective in the presence of or- 
ganic matter (such as dirt, 
mucus, serum, etc.) . 

3 — Penetration . . . "Lysol" so- 
lutions spread because of low 

For your cleansing 

What Every Woman Should Know 

5 — Odor . . . The cleanly odor 

of "Lysol" disappears after use. 1 | .-.-• 

6 — Stability. . . "Lysol" keeps 

its full strength no matter how ^gsss^ 

long it is kept uncorked. ^|mgp 

TUNE IN on Dr. Allan Roy Dafoe every Monday, Wednesday and Friday, 4:45 P. M.,E. S.T., Columbia Network. 

WhHn Answering Advertisements, Please Mention March MOTION PICTURE 




lysol" booklet • 

: lehn 

& FINK Pro 

ducts Corp., Dept. 


! Bloomfi 

eld, N. J 

., U 

S. A. 

I Send me 


free booklet "Lysol vs. Germ 

s" which 


the many uses of 


Copyright 1938 bs 

Lehn & Fi 

ik Products Corp. J 


v My SKIN 

now invites 
a close-up 

"—how well I re- 
call the days and 
long evenings 
when I felt tired- 
out and looked it." 

A SKIN that glows naturally bespeaks ra- 
diant health beneath ... it is alive . . . 
stays fresh! So, be good to your skin from 
within and it will be good to you. 

The reason for this is quite simple . . . 
skin tissues must have an abundance of red- 
blood-cells to aid in making the skin glow 
... to bring color to your cheeks ... to build 
resistance to germ attacks. 

It is so easy for these precious red-blood- 
cells to lose their vitality. Worry, overwork 
and undue strain take their toll. Sickness 
literally burns them up. Improper diet re- 
tards the development of new cells. Even a 
common cold kills them in great numbers. 

Science, through S.S.S. Tonic, brings to 
you the means to regain this blood strength 
within a short space of time . . . the action 
of S.S.S. is cumulative and lasting. 

Moreover, S.S.S. Tonic whets the appetite. 
Foods taste better . . . natural digestive juices 
are stimulated and finally the very food you 
eat is of more value. A very important step 
back to health. 

You, too, will want to take S.S.S. Tonic to 
regain and to maintain your red-blood-cells 
... to restore lost weight ... to regain 
energy ... to strengthen nerves . . . and to 
give to your skin that natural health glow. 

Take the S.S.S. Tonic treatment and 
shortly you should be delighted with the 
way you feel . . . and have your friends com- 
pliment you on the way you look. 

S.S.S. Tonic is especially designed to build 
sturdy health by restoring deficient red- 
blood-cells and it is time-tried and scien- 
tifically proven. 

At all drug stores in two convenient sizes. 
The large size at a saving in price. There is 
no substitute for this time-tested remedy. 
No ethical druggist will suggest something 
'just as good." © SiSS _ Co °_ 

I f T II B V 
ill LI ti Ci 








himself- H er f date m Buenos 

Moore keep, hei ^ 

—Columbia. x Continued on P" l J L 



Accept No Substitutes! Always Insist on the Advertised Bra 


You Can If You Use £t4zAt- 79/100^ Powder 

• Does your make-up flatter you at certain 
times — and betray you at others ? You can 
now get powder that is light-proof. 

Luxor face powder modifies the light rays 
that powder particles ordinarily reflect. The 
use of this powder solves the old problem 
of "shine." Your complexion is not con- 
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highlights of cheekbones, chin and nose are 
all subdued — in any light. 

An important discovery 

More important than matching 
your complexion, is powder that 
is a match for any light! 

Any shade of light-proof pow- 
der will do more for your appear- 
ance than the most carefully 
selected shade of powder that 
picks up every ray of light. It 
will keep that lovely softness 
under lights that would other- 

wise make your face shine like an apple. 
Don't buy any powder 

until you have made this convincing test. 
The makers of Luxor light-proof powder 
will send you a box free, for demonstration. 
Make up as usual, in any light, but finish 
with this new powder. Then stand at a 

glaring window; or under the strongest elec- 
tric light; in cross-lights. See if you can find- 
any light that this remarkable powder does 
not soften and subdue! 

Get a large box at any drug or depart- 
ment store for 55c. Or a 10c box at the 
five -and -ten. Or — here is coupon which 
brings trial box free. 


THIS is what happens 

when make-up reflects 

every ray of light. 

SEE the effect of pow- 
der that is light-proof 
— modifies light rays. 

LUXOR, Ltd., Chicago FAW-3-38 

Please send trial box of Luxor light-proof 

face powder free and prepaid. 

D Flesh □ Rose Rachel 

P Rachel D Rachel No. 2 

Name . 



When Answering Advertisements, Please Mention March MOTION PICTURE 


WITH' the Christmas holidays behind you, now is the 
time to begin planning that summer vacation. Once 
again Motion Picture has arranged an oppor- 
tunity for you to take a transcontinental vacation to 
Southern California — to the land of the movie stars — 
where you will mingle with them in their homes and 
in elaborate restaurants — watch them at work and 
play — and catch an eyeful of the glorious sights to be seen 
en route to Hollywood and return — all for the price of a 
round trip ticket. 

It isn't easy to catch the intimate life of Hollywood, but 
Motion Picture will open the gates for you. All you 
need do is to sign up for one of three Movieland Tours (as 
sponsored by Fawcett Publications) which take place in 
midsummer, and your favorite magazine will attend to 
everything. [Continued on page 61] 

At top is Montana's Red Lodge Highway at top of Rockies, 
where you'll take motor trip. At right are 1937 Tourists 
being greeted by Bob Taylor — and as guests of Basil Rath- 
bone. Below, Warren William is party host on First Tour 

360 North Michigan Boulevard 
Chicago, III. 

Without obligation on my part, send me your com- 
plete, illustrated booklet describing the Movieland 

I enclose $ Please enter my reservation 

for persons to insure a place for us on Tour 


(A deposit of £5 per person will hold your reserva- 
tion. Please specify whether you prefer Tour No. 1, 
leaving July 3; Tour No. 2, leaving Chicago July 24, 
or Tour No. 3, leaving Chicago August 14.) 





BEFORE Allen Brook signed a long- 
term contract with Columbia Studios 
he was a furniture salesman in a Holly- 
wood Boulevard store . . . and was making 
all of sixteen dollars a week . . . helping 
Hollywood matrons find just the right lamp- 
shade or end table ... he is well on his way 
toward being one of the better-known actors 
among Hollywood's newest crop of hand- 
some juveniles . . . His real name is Joseph 
Allen, Jr., the only son of the well-known 
stage comedian . . . the youth came to Holly- 
wood originally to visit his sire . . . but de- 
cided to stay long enough to see if he could 
find a place for himself on the screen . . . 
and when he did his first official act was 
changing his name to Allen Brook for he 
had no intention of using his father's fame 
as a stepping-stone . . . tall, dark and hand- 
some he made his Columbia debut in Motor 
Madness . . . Born in Boston, Massachusetts, 
on a March 30 . . . twenty-one years ago . . . 
Allen comes of a distinguished theatrical 
family . . . for in addition to his father . . . 
two of his uncles . . . Tom and James Mar- 
lowe . . . are well known in the world of the 
theatre . . . the young Columbia player began 
his own histrionic career when he was five 
years old . . . and he kept in trim by writing 
plays during his school days ... he spent 
summer vacations appearing with stock 
companies ... he received most of his school- 
ing in Bay Shore, Long Island, educational 
institutions . . . To be a big-time automobile 
racing driver was Allen's first ambition . . . 
and now he is eager to build the perfect auto- 
mobile to combine safety, speed and economy 
... he is a one-sixth partner in a Long Island 
machine-shop . . . which specializes in the 
building of racing cars and speedboats . . . 
all of which gave him the perfect background 
. . . for his first Columbia picture . . . Allen's 
professional experience includes five seasons 
in summer stock . . . two years of which 
were spent managing his own company . . . 
he has appeared in such popular plays as 
Paris Bound, Holiday, The Bishop Misbe- 
haves and The Fool ... he has also worked 
in dramatic sketches on the radio . . . his 
first motion picture was Holy Terror with 
Jane Withers, his second Career Woman 
with Claire Trevor which prefaced his 
Columbia contract . . . More than six feet 
tall young Brook has hazel eyes and brown 
hair ... he is of Irish descent ... his favor- 
ite poet is Rudyard Kipling ... he keeps 
in condition with handball . . . never misses 
an automobile race . . . lives in a small 
apartment . . . and drives a six-year-old 
roadster . . . admits he's a speed fanatic . . . 
likes to fly . . . thinks he would have been 
an automobile engineer if his histrionic am- 
bitions hadn't materialized. 


No girl who offends 

with underarm odor succeeds 

in her job — or with men . . . 

A new job— new friends— new chances 
for romance! How Ann did want her 
new boss to like her! Bachelors as nice as 
Bill S were very hard to find! 

Ann was pretty— Ann was smart! 
"Someone I'd be proud of," Bill thought. 
So he asked Ann out to his club. 

The night was glamorous and the 
music was good— but Bill's interest died 
with the very first dance. Ann had 
thought a bath alone could keep her 
sweet— and one hint of underarm odor 
was for Bill. Others in the office 

noticed, too. Ann lost the job she wanted 
—the job that might have led to love. 
It's foolish for a girl in business— a girl 
in love— ever to risk offending! It's so 
easy to stay fresh with Mum! Remember, 
a bath only takes care of odor that's past 
—but Mum prevents odor to come! 

MUM IS QUICK! In just half a minute, 
Mum gives you all-day-long protection. 

MUM IS SAFE ! Mum can't harm any kind 
of fabric. And Mum won't irritate your 
skin, even after underarm shaving. 

MUM IS SURE 'Mum does not stop health- 
ful perspiration, but it does stop every 
trace of odor. Remember, no girl who of- 
fends with underarm odor can ever win 
out with men. Always use Mum! 



For Sanitary Napkins — 

No worries or embarrass- 
ment when you use Mum 
this way. Thousands do, be- 
cause it's SAFE and SURE. 



When Answerinr Advertisements, Please Mention March MOTION PICTURE 




and all your own Dresses 
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AMBITIOUS women who need 
money are urged to accept this 
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and show the lovely new 1938 spring 
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women love to look at stunning new 
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earn up to $23.00 In a week and in addition 
get all your own dresses free. Mail coupon 
lor this amazing free opportunity. 



many as 
low as 

Fashion Frocks for this new 
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worn and approved by many 
Movie Stars. Fashion 
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advertised in Good House- * 
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■ Name 

I Address __ 
I City 






-AAA 1 /*— 


WSLJ^^^^^^^^ . ,. tar ted their firm 

■^ . , Walter Winch*. *°-^^ X ^^\ 

Ben Berme and Watte ^ L * agam ^ H cs * f P^ective and 
ribbing career m ^ ris / package o iL*g does. The story rs e^ 
SS s^tr^^n^^o^at^^ £**.«£* 
trough Sjdney Lanfi e \ ;uing mu5 i« 1. Mr- q{ spots for the "n^^ ^ k 

cT^dvf Eft** ^J^ -oUs a^ *e W^ ^en^ 

high spots of the fili^ A sm gmg sens *'%l^idwjn, a new- 

Miss Simon « the v i who u innocent ^ ^^^ti? interest. We recom- 

co'mer shows Prom seas^ & k p. 

m end Love and m ^ ont inUed on page ' 



Accept No Substitutes ! Always Insist on the Advertised Brand! 



IF YOU were born two miles away 
from Hollywood's motion picture 
studios, you haven't a chance to break 
in pictures . . . that, at least, is the opinion 
of Gordon Oliver, young leading man 
out at Warner Bros, studios . . . Gordon, 
who comes from a Southern California 
"blue book" family, was born in Los Angeles 
. . . and spent most of his early life close to 
the inner workings of the industry of which 
he is now a part ... it wasn't, however, until 
he had completed his education at the U. of 
Oregon and at U. S. C, that he decided to 
take up acting as a profession . . . Naturally, 
lie cast his eyes towards motion pictures but 
the executives seemed in no frame of mind 
to hire any "local talent" ... in fact, he 
couldn't even get near a casting office to 
apply for bit or extra work . . . somehow 
he just didn't seem to "belong" . . . Not 
wanting to stray too far from his family or 
home, Gordon went to San Francisco, where 
he thought he might get a chance to play 
in a stage role . . . But the Bay City didn't 
welcome the young socialite with open 
arms . . . Then someone told him that the 
only way to "break in" would be to go 
East ... It might take time, he was advised, 
but if he was serious about a screen career, 
he must go to New York . . . The big town 
treated Oliver much better than his home 
town or San Francisco. He obtained bit 
parts here and there, but it wasn't before 
long that his big opportunity came . . . He 
was given a role in the road company of 
Petrified Forest . . . just as the friend had 
told him, Hollywood became interested when 
he appeared in the important role . . . and 
a Warner Bros, executive offered him a 
contract, but Gordon didn't grab it . . . 
"You'll have to pay my way to Hollywood, 
and also guarantee my return fare before I 
consider," was the reply . . . The executive 
said okay but wondered why Gordon in- 
sisted on the return guarantee . . . "I've been 
to Hollywood before," was the reply, "and 
you didn't want me then, so why should I 
be confident of making good when you ship 
.me back to my home town to make good?" 
. . . this seemed reasonable to the executive, 
or at least they agreed and even though 
Gordon had made good, he still insists on 
that "return" clause . . . Personally Gordon 
has a very sunny disposition and goes out 
for all sports . . . he's a husky lad and stands 
almost six feet in his "stocking feet" . 
you'll like young Gordon Oliver especially 
after seeing him play opposite Kay Francis 
in Women Are Like That. 

Make a FRESH start 

and swing over to a FRESH cigarette 

YOU'LL miss a lot in life if you 
stay in the rut of old habits and 
never risk a FRESH start. Take 
your cigarette, for instance. If your 
present brand is often dry or soggy, 
don't stay "spliced" to that stale 
number just because you're used to it. 

Make a fresh start by swinging over to 
FRESH, Double-Mellow Old Golds . . . the 
cigarette that's tops in tobacco quality 
. . . brought to you in the pink of smok- 
ing condition by Old Gold's weather- 
tight, double Cellophane package. 

That extra jacket of Cellophane brings 
you Old Gold's prize crop tobaccos with 
all their rich, full flavor intact. Those 
two gate crashers, dampness and dry- 
ness, can never muscle in on that double- 
sealed, climate-proof O.G. package. 

It's never too late for better smoking! 
Make a FRESH start with those always 
FRESH Double-Mellow Old Golds. 

TUNE IN on OldGold's Hollywood Screenscoops . 
Tues. and Thurs. nights, Columbia Network, Coast- 

A Fresh Start made a Fresh Star 

Salesgirl in a department store, Joy Hodges 
made a fresh start. Landed in the movies! 
Starred in " Merry-Go-Round of 1938"! 
Now charms Broadway in "I'd Rather Be 
Right"! Joy's fresh start made a new star 
who brought fresh joy to millions. 

Here's why the O.G. package keeps 'em fresh 

Outer Cellophane Jacket 

Opens from the Bottom, 

sealing the Top 

The Inner Jacket Opens 

at the Top, 

sealing the Bottom 

Copyright, 1938, by P. Lorillavd Co., Inc. 

When Answering Advertisements, Please Mention March MOTION PICTURE 


%^}V*% %^%^ 

fs* v 





Directed by Roy Del Ruth 

Associate Producer David Hempstead 

Original Screen Ploy by Milton Sperling 

and Boris Ingster 


"Hot and Happy'Y'A Gypsy Told Me" 

"You Are The Music To The Words In 

My Heart", "Yonny And His Oompah" 

by Sam Pokrass and Jack Yellen 

It comes to you, of course, from DARRYL F. ZANUCK and his 20th Century-Fox hit creators! 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

M Y R N A 





While Myrna is down at her Malibu 
Beach home worshipping the sun and 
reading scripts, the entire world 
worships her as shown in a recent na- 
tional poll when Myrna was crowned 
first lady of the screen. Having 
just completed Man-Proof, Myrna 
relaxes before starting her next one 


Alive, alluring and arresting is 
Hollywood's Hungarian importation, 
llona Massey. Formerly the toast 
of Budapest, she's now the toast 
of Hollywood having completed 
Rosalie, her first American film. A 
beautiful blue-eyed blonde with an 
exquisite voice, she's a sure hit 

urn im 

IN JEZEBEL, for the first time in 
her life, Bette Davis has a Southern 
accent. Also, for the first time in 
her life, she has a costume role. She 
is tricked out in curls and crinolines. And she is prettier 
than ever before. More seductive. More devastating. 
Which is what she should be, to play Jezebel. For, in this 
role, she is a Southern belle of a hundred years ago who 
is in love with one man all her life and lets nothing stand in 
the way of her getting him. Among other things she serves 
notice on the girl he marries that she (Bette) is going to 
take him away from her. 

At this writing, the picture hasn't been previewed. I don't 
know whether she succeeds or not, and Bette won't tell me. 
("Who am I, to ruin the suspense?" she asks.) But I know 
that, if she doesn't succeed, she must come mighty, mighty 
close. I've seen some of her low-cut, off-the-shoulder gowns ; 
I've seen some of her arch acting; I've heard some of the lines 
she delivers, in that caressive Southern manner. 


This Jezebel would spell danger to 
any woman whose husband she happened 
to want. 

Catch Bette in the studio commissary 
at noon, and she isn't like that. Her blonde curls are tucked 
up in a net. Instead of colorful crinolines, she is wearing a 
loose-fitting, shapeless, faded yellow silk cover-all of a dressing- 
gown. And her speech is clipped; her accent, Yankee. Her 
mannerisms, all 1938. 

If any actress in Hollywood epitomizes, in person, the 
streamlined modern who knows her own mind, and how to 
use it, that actress is Bette. She is calm, cool, collected. She 
has mental, as well as physical poise. You have the feeling 
that she is equal to any situation. 

Still — you wonder what this streamlined modern, this pert 
Bette Davis, Mrs. Harmon O. Nelson, Jr., would do if a high- 
powered Jezebel should suddenly confront her. All right, you 
ask her. And this is what happens : 

She dips her fork into the salad {Continued on f>agc 80] 




The laughing, 
larruping hero of 

"Kid Galahad"! 

Speeding to stardom faster than any other screen 
hero in years! Here's the daring, dashing new 
thrill in boy friends, with the devil in his eyes, a 
wallop in his mitt and heaven in his arms! Winning 
millions of hearts in every role he plays! See him 
now— more exciting than ever— in the tingling 
romance of a fightin' fool who knew how to love! 




Shooting another love punch straight 
to your heart in "The Kid Comes Back"! 



WELL, well, 1 certainly did NOT pick a 
winner to give me the low-down on the 
high, wide and very handsome temptations 
offered by Hollywood when I picked on 
Clark Gable ! Because Gable hasn't faced, 
perhaps I should say hasn't felt any of 
Hollywood's tempting temptations. For 
the simple but sufficient reason that the tempta- 
tions Hollywood has to offer do not tempt Mr. 
G., that's all. 

That was about all. That just about fixed my 
little idea of having Mr. G. say: "I've faced these 
temptations in Hollywood" and then go off to 
the races with rich and racy anecdotes about the 
temptations he has kept at arms' length, the while 
wrestling with his soul in the Mojave Desert. 
For when I asked Clark how he has managed to 
withstand the sirens, the silken, sinister, seductive 
and sybaritic lures of fame and stardom, he just 
threw back his deucedly handsome head (as the 
English would say) and let out a very discon- 
certing roar of laughter. 

1 took out my little lint of the best temptations, 
the Gable guffaws notwithstanding, and read them 
off to him, the while he, pleasantly but uncon- 
cernedly, ate his way' through a pineapple and 
cottage cheese salad. I read aloud : "Tempta- 
tions ! Women? Extravagance? Inflated Ego, 
commonly known as The Swelled Head ? The 
Temptation To Forget How The 'Other Half 
Lives? Wild Parties? Night Life? Tempera- 
ment ? Jealousy ? Surfeit ? 

"These," I said to him, not without a certain 
modest pride, as seriously as the demoniacal 
twinkle in his gray eyes would permit, "these are 
the most approved temptations which Hollywood 
lias to offer her darlings. [Continued on page 70 J 

Clark is a familiar figure o 
Hollywood highways, ridinj 
or driving his pal, Sonn; 

-CUM uile 




A girl in a thousand 
— and more — is Mar- 
jorie Weaver. One 
of many thousands of 
contestants in a re- 
cent talent quest, 
Marjorie was selected 
the winner. Then she 
won Hollywood and a 
part in Second 
Honeymoon. If she 
hasn't won you, yet, 
she will as Mary in 
Salty, Irene and 
Mary, her latest film 


U,U corner- 

rnen,* eh R a ; c he\\ e 
v, inner, * ^, her 
Huds° n - Snes 

game'%Yto> a % 
ingo n .°' fo ^r 
f,\m co»ec Ken+S 

Ms R ° be tM r.Moto 
ookO"t,^ r 




, x \ijt»; //# , 


v 5 

OR the better part of a workday forenoon, I was with 
Bill Powell, the other day. It was under the great 
vaulted roof of one of 20th Century-Fox's new sound 
stages. They were in the third day of shooting The 
Baroness and the Butler, the first picture Bill has made 
s i nce — well, since Jean Harlow died. The first work 
' he's done since coming back from that European trip 
which he took to rest, and to try to find escape from the 
ache in his heart. ... 

For several hours, then. I watched Powell. Watched 
him work under the blinding 
lights, watched him on the side- 
lines between takes, sat and B A 
talked with him, face to face. By II A 
in his dressing-room on the set. 

Bill was as affable as ever; as g(LL POWELL HAS ( 
courteous, as charming, as 

frank. And yet, I came away ATTITUDE TOWARD 
from that visit with Powell ^ Air \at/c ucdc uic 
with an odd feeling of having WORKS. HfcKfc rlfc 


with someone I'd never even seen before. I found 
that others, renewing their acquaintance with Powell 
e this recent trip of his. have felt the same effect — that 
here was a stranger, a newcomer, a different man than they'd 
known before. I wondered. ... 

And then suddenly I realized a significant point ! I sud- 
denly remembered that in all those minutes that ran into 
hour's, there on the sound stage, Bill Powell had not smiled 
once ! Not really smiled. There was one instant, when 
an acquaintance passed a quip as he stuck his head into 

the door of the dressing-room 
where Bill talked with me, that 
Powell looked at him and drew 
CAMP his lips into the semblance of 
a smile, acknowledging the 
HANGED HIS WHOLE greeting. But it was only his 

lips that smiled. His eyes 
OLLYWOOD AND ITS didn't change at all. His eyes 

did not smile. And as soon 
S AS HE IS TODAY as the {Continued on page 79 1 



SOME six miles apart, in that lush 
San Fernando valley back of 
Hollywood, where so many of the 
movie biggies are making their 
homes these days, lie two lovely 
ranches . . . 
One belongs to Barbara Stanwyck 
— the other belongs, to Robert Taylor. 

Now as California measures dis- 
tances, six miles is a mere step across 
the street. To all intents and purposes, 
Barbara and Bob are next door neigh- 
bors. And that alone is a matter of 
tongue-wagging interest to Holly- 
wood's romance watchers — who can't 
yet decide whether it's Barbara and 
Bob, or Clark Gable and Carole Lom- 
bard, who deserve the Unmarried 
Sweethearts championship of filmland. 

But there's something far more sig- 
nificant about those two houses — much 
more of a clue to the future plans of 
Bob and Barbara than the mere prox- 
imity of the places. That is this : both 
places are being furnished, as far as 
publicity goes. And nobody makes any 
secret of the fact that Barbara Stan- 
wyck supervised the furnishing not only 
of her own ranch, but of Bob Taylor's 
as well while Bob was abroad. 

True enough, Bob surveyed all the 
decoration — and furniture plans, before 
he departed, and gave his general okeh 
to the scheme. BUT — it's Barbara, and 
Barbara alone, who is running the 
actual fitting and furnishing of that 
house of Taylor's — 

And now here's the big point: 

Although the job of outfitting the 
Taylor ranch-house is practically com- 
plete — down to the tiniest and most 
intimate details — the fact remains that 
despite all publicity to the contrary, 
Barbara has barely scratched the sur- 
face of the business of furnishing her 
own place ! She won't even have friends 
and acquaintances visit her there — be- 
cause the place, inside, is still just about 
as empty as a barn, save for the small 
portion in which Barbara and Baby 
Dion — the boy she and Frank Fay 
adopted when they were trying to find 
a way to make a go of their marriage — 
live. In short, even though she's been 
in it months, it's still hardly more than 
a sort of [Continued on page 66] 

The minute that Bob and Bar- 
bara met each other they went 
dancing. Then came romance 
— and soon it'll be marriage 




IN THE good old days the son of a chimney sweeper be- 
came a chimney sweeper, and the son of a clown, a clown. 
Tradesmen, artisans and craftsmen were organized in high 
and mighty guilds, and a beginner had to serve a long 
period of apprenticeship under his father before he was 
licensed to practice chimney sweeping or buffoonery. And 
today, we have the Screen Actors Guild. It is pleasant 
to report that several of its members are passing on to their 
offspring the legacy of the ancient and honorable art of make- 
believe entertainment. There are also a number of deceased 
troupers whose children are carrying on their calling. 

How time flies for those of us who remember the first crude 
attempts at flamboyant photodramatics across the screen 25 
years ago ! Yet today we already have a second generation, 
and this article salutes the newcomers who are following in 
their parents' footsteps. 

We made a tour of the studios to see who belongs to this 
second generation, and find out whether or not being the son 
or daughter of a famous thespian is a help or a handicap in 
gaining cinematic recognition, and how the rising children 
feel about their parents, and how the latter feel about their 
children. The accompanying bpxed tabulation is a compre- 
hensive list of players either or both of whose parents are or 
were also actors. 

Tim Holt, son of Jack Holt, is under contract to Walter 
Wanger. Tim is a husky lad of 19, 5 ft. 11 inches tall, weighs 
165 pounds, has curly brown hair and brown eyes. We had 
a long chit-chat with him at the United Artists Studio. 

"My father neither encouraged me nor discouraged me in 
my desire to be an actor," he said. "He left the choice of 
a career to me. But when I definitely decided to enter pic- 
tures, he helped me in every way he could. Whenever I get 
stuck in a scene, don't know how to play it, I talk it over 
with him. He is a great actor/' Tim is very proud of his 
father, and with good reason. 

"A few years ago you wrote a story about my father." he 
reminded us. "And you know why he has lasted so long. 
You had called the story, 'He Has Kept His Fans for 20 
Years.' Because he has never been shown in a false light, 

and doesn't have to worry about any disillusionment among 
his followers. You don't read very much about him, what 
he eats for breakfast and what's the interior decoration in our 
home. I really don't want much publicity right now, because 
I haven't done anything. I like to do bits for two or three 
years until I learn to act. So please write about me as I am, 
just a young punk trying to get along in a difficult business." 

'"iPIM made his first appearance on the screen in 1926, playing 
•*■ with his father as a small boy in The Vanishing Pioneer. 
Then he was given a part in Young Stars of Hollywood, with 
Wally Reid, Jr , Tim McCoy's son, and Eric von Stroheim, Jr. 
"But I never saw that picture," he said. "I'd like to see it. 
Maybe it wasn't released at all." 

Tim went to Culver Military Academy in Indiana. "It's 
the greatest military prep school in the world," he asserted. 
Talking about that institution is his idea of a swell interview. 
"We have three branches, artillery, cavalry, infantry. Our 
infantry is completely mechanized, exactly like the regular 
army. I was in the cavalry. I also played two years varsity 

"I went to Culver for the training and the discipline," he 
explained, "but my real ambition was to be an actor. I played 
in school dramatics. When I came back to Hollywood after 
two years at Culver, I became interested in the Westwood 
Theatre Guild. I did a play with Mae Clarke and Bodil Rosing, 
Papa Is All. A Pennsylvania Dutch play, in dialect. I was 
a half-witted boy, and the hardest part of it was the dia- 

Tim met Walter Wanger on the polo field. "Mr. Wanger 
told me to see him when I got ready to enter the picture 
business. Exactly a year ago yesterday he gave hie a screen 
test, with Pat Paterson. I played a drunkard. I was a little 
nervous, because a career depended on the outcome of that 
test. I have found that so long as you believe in yourself, 
you are doing all right. The first thing I did for Mr. Wanger 
was a tiny bit in History Is Made at Night. Then came along 
Stella Dallas, in which I played the part Douglas Fairbanks, 
Jr., did in the silent version. That was a great break for 

Leatrice Joy Gilbert should be doubly 
talented. She's the daughter of Le- 
atrice Joy and the late John Gilbert 

Handsome Tim Holt, son of Jack, is Olympe Bradna's theatrical heritage 
following in his dad's footsteps. He is full. She's one of the "Bradna Family" 
scored a hit as Dick in Stella Hallas who are widely renowned in circus circles 


me. My next picture was / Met My Love Again, and I played Olivia de Havil- 
land's brother in Gold Is Where You Find It." 

Tim's sister, Betty, 17, is active in school dramatics. She is very pretty, and 
looks like Olivia de Havilland, except that she has blonde 
hair, while Olivia is brown-haired. They live with their 
father in Santa Monica Canyon, close to the polo field. 
He drives a car, and is still paying for it out of his earn- 
ings. He doesn't associate with the movie crowd, but 
enjoys dancing at the Ambassador and the Beverly- 
Wilshire. He goes out with different girls, but the studio 
so far has been unsuccessful in inventing a space-grab- 
bing romance for him. He considers acting a job, "Like 
a man taking his pail and climbing a building," as he 
put it. 

We asked him if there was anything he wanted to 
tell us about which we hadn't questioned him. "Don't 
quote me in the first person," he said, "write it in the 
third person." Which is quite typical of a Holt. We 
told him we had to go to the Hal Roach Studio to inter- 
view Bonita Granville. "My pal, Hal Roach, Jr., is 
the assistant director in her picture," he said. "For 
two years he was my room-mate at Culver. Great guy. 
Weighs 215 lbs., was the captain of our football team, 
and he has a mind like that." He snapped his fingers. 
"He really works. He isn't the boss' son. 

"At Culver it was understood he was going to produce 
pictures, and I was going to work for him as an actor. 
But whenever we got mad at each other, he would tell 
me I was fired !" 

WE FOUND Hal Roach 
"Quiet -please!" 
on the set of 
Merrily We 
Live, starring 
Brian Aherne 
[Continued on 
page 82 J 

Jr., blowing a whistle and 


S U R M E L I A N 


Ann Rutherford was 
born with the gift 
twenty years ago 
in Toronto, Canada 

..... ■' 


Since she's been a tot Bonita Gran- 
ville has wanted to act. Her mother 
and dad were musical comedy stars 

Mickey Rooney has been in show busi- 
ness all his life. His father, Joe 
Yule, is a comedian and Still very active 


her box-1 ike location dressing- 
room — in silver-cloth and chiffon 
trappings for her role in Robin 
Hood — a girl of another age ! She 
looked untouched by life, exquisite 
— perfect replica of a w o m a n 
of a past era. 

But the problem she discussed was as 
modern as tomorrow. Her words and 
her thoughts mirrored the honesty of 
the girl of today. 

"Women have always been afraid of 
being hurt," she commented. Her eyes 
are startlingly large in the face which 
might have been born of a poet's dream. 
Grave eyes. Intelligent eyes. 

"But the woman of another day per- 
mitted hurts — particularly if they were 
of an emotional character — to subdue 
her, to subtract from her happiness, to 
paralyze her emotions," she continues. 
"Fortunately, women have come far. 
They are not afraid of broken hearts or 
broken loves. 

"They take it as material to build into 
character and to give them wisdom and 

"I have invariably refused to discuss 
my personal life because I felt that an 
actress should be evaluated by what she 
does on the [Continued on page 65] 

The hurts suffered 
in Olivia's romances 
are healed. They've 
made her a better 
actress as in Robin 
Hood and Gold is 
Where You Find It 
— with George Brent 









THERE is a theory among Hollywood movie moguls that 
if they can cast Basil Rathbone in their costume films, 
success will automatically fofiow. Sort of a "rag, a 
Rathbone and a hank of haS" formula for bolstering 
show business' greatest risk, the making of an historical 
To date, the money returns on films from David Copper- 
field (Mr. Rathbone played the dastardly Murdstone) to 
Romeo and Juliet (he did Tybalt) have proved the effect our 
hero and their villain, Phillip St. John Basil Rathbone, has 
on the box-office temperature. Maybe it's because he's so con- 
summately, so artistically nasty. 

"I didn't like Mr. Murdstone. $ 
A little too heavy, really," said 
Rathbone, divesting himself of a 
huge pigeon-blood ruby ring (solid 
glass), mounted in pure movie 
gold (brass). It was part of the 
richly green and gold costume 
which clothed him for the role 
(also dastardly) of Sir Guy of 
Gisbourne in the Brothers Warner 
Technicolor version of The Ad- 
ventures of Robin Hood. 

In his childhood, in Sussex 
woodlands, young Rathbone often 
re-enacted the famous brigand 
legends of his heroic fellow- 
countryman. Now he's getting 
paid — nicely — for doing the same 
thing. This should prove some- 
thing. It does. It proves that 
crime, admirably enacted on 

screen or stage, pays comfortable dividends. It has brought 
Rathbone and his wife, Ouida Bergere, prestige, property, plea- 
sure, and many more returns than if he had stayed in "cotton 
and shipping" at Liverpool like the males of his family before 

"If you have read Galsworthy's Forsyte Saga you have a 
clear picture of the family," continues Rathbone over scrambled 
eggs and bacon, tomato juice and milk. The French fried 
potatoes he carefully conveyed to the bread and butter plate. 
"I don't mean the Rathbones are actually mentioned, but the 
description fits them perfectly. The family has lived in Liver- 
pool for generations." 

But the movie producers are not thinking of English authors 
when they order up "one Rathbone" for villainy. Their mani- 
cured index fingers are tracing the box office returns of Anna 
Karenina, A Tale of Two Cities, The Last Days of Pompeii, 
Garden of Allah — all films in which Rathbone has appeared. 
As Count Anteoni in the latter film he was given fairly decent 
impulses. It didn't hurt his following. Neither did Rathbone's 
appearances in modern attire in [Continued on page 55] 



THIS is a directory to end all wrong impressions about 
marriage in Hollywood. 
Most articles about Hollywood marriage are written from 
one of two viewpoints: (1) It can't succeed, or (2) It 
can. Writers cite only the cases that "prove" the par- 
ticular points they wish to prove. So now, for the first 
time, let's face facts. Let's look at the actual record, in 
black and white. 

Motion Picture herewith presents, for the first time in 
any magazine, a Who's Whose in Hollywood. It is enter- 
taining. It is illuminating. It answers questions you have 
silently asked about this one or that. It is something you 
will want to keep as a record, a reference. 

There are four hundred names in this Who's Whose. They 
are not names carefully culled to prove any particular case. 
This Who's Whose is concerned with Hollywood's Top Four 
Hundred — considered from three angles : their importance 
in pictures, the publicity they are given, and the fan mail 
they receive. 

Read every item. Form your impressions of the success 
or non-success of screen stars in their off-screen romances. 
Then, at the end, check your impressions of Hollywood mar- 
riage, as a whole, with the actual statistics compiled from this 
directory ! It will appear in two installments of which this 
from A to H inclusive is the first. — -Editor's Note. 

ABEL, WALTER — Married to Marietta Bitter, concert 
harpist, since early acting clays. Has two young sons. 

AHERNE, BRIAN— Still in the' market for marriage. At- 
tentive* to Olivia de Havilland, among others. 

ALLAN, ELIZABETH— The "long-distance wife" of Wil- 
fred James O'Bryen, London theatrical agent. 

ALLEN, FRED— His private-life partner is his public 
heckler, Portland , Hofra. 

ALLEN, GRACIE — She's from San Francisco, George 
Burns is from New York; they first became vaudeville part- 
ners in Newark, N. J. Married four years later, in 1927. They 
have two adopted children, Sandra Jean and Ronald Jon. 

ALLWYN, ASTRID— Lost Robert Kent in Dimples, won 
him between scenes. They were married secretly January, 1937. 

AMECHE, DON — Married his schoolday sweetheart, 
Honore Prendergast, who had become a dietician while he 
was becoming an actor. The date : November 26, 1932. They 
have two sons, Donald and Ronald. 

AMES, ADRIENNE— No. 1 : Derward Truex, by whom 
she had a daughter, Barbara, now 13. No. 2: Stephen Ames, 
broker. Divorced in 1933. No. 3: Bruce Cabot. Married, 
1933. Her divorce will be final next April 6. 

ANGEL, HEATHER— She and Ralph Forbes became the 
"hitch-hike elopers" when their car broke down on the way 
to Yuma, August 29, 1934. It's her first marriage, his second. 

ANNABELLA — Twice married, briefly and unhappily, be 
fore marrying the French star, Jean Murat, two years ago. 
rlas child by previous marriage. 

ARLEN, RICHARD— Has a debutante daughter by an 
early, brief, pre-Hollywood marriage. His second wife : 
Jobyna Ralston. They have a son, Richard Jr., and scoff at 
recent divorce rumors. 

ARNOLD, EDWARD— His first marriage, to Harriet 
Marshall, ended in divorce. Married now to Olive Emerson. 
Children : Betty, Edward, Dorothy. 

ARNOLD, JACK— The former Vinton Haworth is Ginger 
Rogers' uncle by marriage. His wife is Lela Rogers' youngest 
sister, Jean Owens. 

ARTHUR, JEAN — Never mentions her unhappy, month- 
long first marriage, which ended in annulment. Married since 
June 11, 1932 to Frank Ross,. Jr. 

ASTAIRE, FRED— Stepped to the altar in 1933 with 
socialite divorcee, Phyllis Livingston Potter. They have one 
child. Fred, Jr. 

ASTOR, MARY — Widowed when Director KennetLu 
Hawks was killed in an air crash. Dr. Franklyn Thorpe re- 
stored her health. She married him in 1931, had a daughter, 
Marylyn, who became center of bitter custody battle in 1936. 
Eloped to Yuma February 18, 1937, with actor-writer Manuel 
Del Campo. 

AUER, MISCHA — He makes those amusing faces first for 
wife Norma Tillman and son Anthony, aged 3. 

AUTRY, GENE — The singing cowboy married the girl 
whose name was Ina Mae Spivey. 

AYRES, LEW— Married Lola Lane September 15, 1931. 
Divorced February 3, 1933. Married Ginger Rogers Novem- 
ber 11, 1934. Separated after two years, but still not divorced. 

BAKER, KENNY — His high-school sweetheart, Geraldine 
Churchill, was willing to starve with him — so they were 
married May 6, 1933. Then the breaks started coming his way. 

BALL, LUCILLE — Still single, but that romance with 
Director Alexander Hall looks serious. 

BANCROFT, GEORGE— Married and divorced Edna 
Brothers in his salad days. Married to Octavia Broske since 
May 30, 1916. Has a grown daughter, Georgette. 

BARNES, BINNIE — Her first husband was Samuel 
oseph, London antique dealer. They married January, 1931. 

Bre ed October, 1937. Her next will be painter Jean 


BARRIE, WENDY— Hasn't made The Great Decision yet. 

BARRYMORE, JOHN— No. 1 : Katherine Carri Harris. 
No. 2: Writer Blanche Oelrichs (pen name "Michael 
Strange"), by whom he had a daughter. No. 3: Dolores 
Costello, by whom he had a daughter and a son. No. 4 : Elaine 
Barrie (nee Jacobs), whose Ariel-and-Callban romance cul- 
minated in marriage November 11, 1936. an interlocutory di- 
vorce April 23, 1937, then a reconciliation, which still holds. 

BARRYMORE, LIONEL— His first marriage— a remote 
and unhappy memory — was to one Doris Rankin. On July 14, 
1923 he married actress Irene Fenwick, who died Christmas 
Eve, 1936. 

BAXTER, WARNER— Very early, and very briefly, 
married to one Viola Caldwell, who later died. Married for 
years to actress Winifred Bryson. 

BEAL, JOHN — Hollywood's most ardent commuting hus- 
band. Married since 1934 to Helen Craig, young Broadway 
actress. [Continued on page 64] 



Norway's newest contribution to 
the American screen is Vera Zo- 
rina who makes her debut in The 
Goldwyn Follies as bailerina of 
the American Ballet. Twenty 
years old, Vera has starred as 
premiere ballerina of the 
famed MonteCarlo Ballet Russe 





There are strange things done 

Beneath Hollywood's sun, 

And they lead to joy or grief ; 

But the strangest story — 

And it's full of glory, 

Was the creation of Dennis O'Keefe. 

»UR apologies go to Robert W. 
Service for stealing the idea 
of The Cremation of Sam Mc- 
Gee, but the bard of the Yukon 
country never had a stranger 
story than one we've got to 
tell about Bud Flanagan. For 
five years this young blond actor 
counted his pennies against the days 
of potential starvation, and then in 
one brief week had long-term film 
contracts offered him by three dif- 
ferent studios — and that's how he 
became Dennis O'Keefe. 

That was only a few months ago, 
no matter how long it seems to him. 
And when he finally signed on the 
dotted line with Metro-Goldwyn- 
Mayer, Bud Flanagan bid farewell 
to that Irish name and overnight 
assumed his new monicker — equally 
Irish. More than a man with a new 
name, he was the studio's most 
promising young leading man. 

Metro might never have become 
interested in Bud Flanagan-Den- 
nis, from now on — if it had not 
been for Clark Gable, who at that 
time was being co-starred in Sara- 
toga with Jean Harlow. Dennis re- 
ceived a casual call to do a small 
bit in that picture — three or four 
lines at the most. The scene called 
tor him to talk with Gable, who was 
just outside the camera's range. 
Dennis was to be dressed in a 
tuxedo, and he found upon arriving 
on the set that he was dressed in 
the same clothes, even to the hat, 
as was Gable himself. Dennis didn't 
know whether to regard it as a good 

or bad sign. This is a story which 
Dennis O'Keefe should tell himself, and 
here are his own words for you: 

"We had to do the scene several times 
over," Dennis said, "and all the while 
I was conscious of a sharp scrutiny 
from Garble. He stared at me so in- 
tently and contemplatively that I thought 
he disliked the way I was dressed. All * 
through that scene, which Director Jack 
Conway enlarged considerably before 

telling me to return the following day, 
Gable watched almost everything I did. 
And his look, it seemed to me, could 
scarcely be called kindly. More than 
that, I felt like he might enjoy knocking 
the hat from my head. 

"Brother, until you've been stared at 
by a film star, you don't know what self- 
consciousness is. I found out that day. 
And was almost sorry to hear Conway's 
orders to return [Continued on page 84] 



"■ M [ a star?" queried Beatrice Lillie. 
B "Don't mistake me, I'm not going coy on 
■I you, I admit I've done what I could to 
HI build up that illusion through the years, 
and certainly I can behave like one; if you 
don't believe me, ask Noel Coward or 
" read him, he'll tell you, bless his amiable 
heart. 1'ut that was on the stage. We're in 
the movies now," she hummed, "we've come to 
make our bow, we shiver and shake, we quiver 
and quake, we're in the movies now ; or at any 
rate, we're trying to get a toe-hold, and there 
doesn't seem to be any really basic connection 
between stars and toe-holds, does there? How- 
ever — " Full stop for a breath. "Granted the 
starriness, if the question is, do you need beauty 
to be one, the answer is, look at me." 

Looking at her. you see a pair of gray eyes 
alight with intelligence, a nose whose tilt the 
caricaturists have naturally overdrawn, a laugh- 
ing mouth, a skin whose fine grain and firm 
texture cause the movie makeup men to moan 
with ecstasy, dark hair drawn back from small 
ears and broad forehead with a severity few 
faces could stand. Hers not only stands, but 
gains bj it. If it's not a face to launch a thou- 
sand ships, it's one that your eyes return to 
with pleasure. [Continued on page 75] 


Beatrice Lillie, one of the 
ranking comediennes of 
stage and radio, is now in 
Hollywood cutting up 
capers and didos for Bing 
Crosby's new picture, 
.Doctor Rhythm. Here is 
Lady Peel cutting capers 






a*. \ A ^ , 


Flash . . . Joan Crawford 
wears a negligee with red 
fox drape in Mannequin. 
An Adrian design 

Plash . . . New blue-tone 
tuxedo fox entirely 
fashions the back of this 
jacket worn by Joan 




Here is a flash of the fashion news con- 
tained in Mannequin, Joan Crawford's 
new film. The silver brocade gown, 
above, is but one of the many beauti- 
ful designs Adrian created for Joan 



21 » 



, SCARS" may come and "Oscars" may 
go, but the lone cowhand from the Rio 
Grande keeps right on rollin' along ! 
Thus far no Western film has been 
awarded one of those gilded Academy 
robots that make such handy door-stops 
and book-ends. Yet show me the pro- 
ducer who'd hesitate to swap a bewhiskered 
Paul Muni for a sombreroed Gene Autry. 
Paul, mind you, is a better actor than Gene 
with his horse thrown in. But the movie- 
makers have been pounding out Autry open- 
space drayma at $25,000 a copy, and retailing 
'em to the picture public for around $250,000. 
If any prestige picture grossed in like ratio, 
the receipts would run to $20,000,000— and 
the producer would drop dead ! 

It has always been that way with the bang- 
bang-giddyap cinema. Autry's films are a 
cinch never to be seen on Broadway. Yet 
Gene's record outsells Bing Crosby's, his fan 
mail equals that of Gable or Garbo, and where 
his pictures show he's billed over all stars. 
But this is nothing new. One of the first of 
the famous films was The Great Train Rob- 
bery. The screen has been playing cowboys 'n' 
Indians ever since. No glamor girl nor charm 
boy ever nicked Hollywood for the $17,500 
Tom Mix drew down each week, year in and 
year out. Nor equalled the take Fred Thom- 
son socked away. And like Gene, Tom and 
Fred seldom saw their names in Main Stem 

The Western roster has changed of late. 
True, many of the old-time boots V saddles 
sheiks are still numbered among the rough- 
ridin' Romeos. But some have trotted on to 
greener pastures. Fred Thomson, stalwart 
and handsome on his milk-white steed, is rid- 
ing herd on the angels. Art Acord, that hard- 
boiled hombre whose delight it was to maul 
Mix, lies weighted with hot lead spat at him 
from smoking six-guns in a "Spick" bar-room 
brawl. Others, too, by this route or that, 
have departed the screen scene. 

Many of the little buckaroos have sought 
the synthetic thrill of the West in the saw- 
dust circles of rodeos, wild west shows and 
the circus. There's the good, old Colonel, 
Tim McCoy, for instance. Tim, who has the 
Indian-sign even on the Indians by dint of 
his knowledge of their strange hand language, 
leads the Grand Parade of Riders of the World 
for the Ringlings, and doubles in brass in the 
cowboy acts. "Hooter" Gibson, who used to 
shoot out the lights along Los Feliz when 
spring, or something, got in his blood, draws 
a deadly bead for the Wallace outfit, and upon 
occasion alternates \ Continued on page 87] 



Vivian Goes beauty and figure 
brought her title Miss Hollywood 
of 1937. Nowin Hollywood Hotel 

■ Study in Cause-and-Effect (or vice 
versa?) — Gordon Oliver was voted 

"best-dressed man on the lot" in a 
Warner Brothers studio voting- contest 
the other day. . . . One hour after they 
told him about it, Gordon Oliver was 
at his tailor's, ordering six new suits. 

New Use For Trailers 

■ Allan Jones has turned autograph 
hound ! But he doesn't use an auto- 
graph album, or the cards that Hollywood 
autograph seekers thrust into film stars' 
hands at previews, etc. Instead, Jones 
uses the walls of his new auto trailer. 
Already, he's got the autographs of the 
entire cast of Everybody Sing on the 
trailer walls, plans to record the auto- 
graphs of every filmster he can lure into 
the vehicle. 

Why Not Reading Glasses, Too? 

■ Not only of Carole is Clark Gable 
fond, but also of his horses. Be- 
cause Clark takes his horse many miles 
across open and often glaring desert 
country on his way to and from week- 
end outings, dragging the horse in an 
open trailer behind his own roadster, 
Clark has invented a pair of equine 
goggles. They're of tinted glass, wind- 
proofed, so they protect his horse's eyes 
against irritation either from the wind 
or the sunglare. Carole wears sun- 
goggles, too, when she rides with Gable. 

Is It A Trainshed? 

■ Moderation a la Hollywood: — at 
his new home, Robert Montgomery 

has garage space for only eight cars. 

Giggle For Anti-Nazis 

■ To 20th-Fox came an informal pro- 
test from the Los Angeles German 

consulate over Sig Rumann's charac- 
terization of a German army officer in 
Lancer Spy. Much too undignified, pro- 
tests the German official. The point is 
■Sig Rumann WAS a German army 
officer in the World War. 


I Won't Play In Your Yard 

■ Still existent, even though niili- 
tantly hush-hushed by the studio, 
is the — ahem — rivalry that exists be- 
tween the Shirley Temple and Jane 
Withers families. Shirley, No. 1 in the 
box-office championships, is being 
crowded by Janie, who doesn't rank far 
below her and is steadily climbing. 
Notorious at the studio is the fact that 
whenever anything even smacking 
faintly of a special concession is made 
to either of the tot-stars, the other's 
mother lets it be known she would like 
the same sort of thing. 

Anyway, out comes in studio publicity 
the fact that Sonja Henie has been giv- 
ing Shirley ice-skating lessons. Janie's 
mother, unaware that these lessons were 
99 per cent publicity stuff, felt unhappy, 
not to mention slighted. UNTIL — fate 
took a hand. Irving Jaffee, world- 
champion skater and holder of three 
Olympic titles, met Mrs. Withers. So 
what? — need I tell you? Of course it's 
obvious that before the conversation was 
over, Irving had agreed to teach Janie 
how to ice skate. But the payoff is this : 

After only four lessons, Janie has so 
astounded Irving by her ability that they 
have worked out a comedy skating act and 
they're soon going to preview it before 
20th-Fox bigshots, who just may sud- 
denly make an ice-skating picture NOT 
with Sonja but with Janie in the top role. 
...!!! And then again, they may not. 

Bob Taylor's femme fans will register 
jealousy to note horses eating out of 
their idol's hand as they did in England 

Camera Doesn't Lie 

■ It's no more than logical. Wonder 
is, it hasn't been done before. 
Adrian's new method of working out the 
costumes for M-G-M's glamour-gals. It 
involves — of ALL things for a designer 
to use — a 16 mm. movie camera. He's 
using it on making the dresses Norma 
Shearer will wear in Marie Antoinette. 
When the regular costume tests are 
made, Adrian is there, too, with his own 
16 mm. machine, shooting. Then he has 
the film developed, takes it home, and 
studies it. "If a gown is too bulky and 
hampers motion," he says, "I stop the 
film and study the particular movement 
that gives this impression." Then he 
corrects it. Already, Adrian has a mile 
of films of the Shearer costumes. 

And so there you are, gals. If you 
make your own dresses, why not get a 
16 mm. camera to see if they're okeh, 
before you try 'em out on the boy friend ? 

This voluptuous num- 
ber is Dorothy Belle 
Dugan who adds eye- 
ful of glamour to the 
big Goldwyn Follies 

-—Muky Munkacsl 

Evelyn Thawl danced her way 
into Warner pictures when scouts 
saw her in B'way's Show Is On 


Boy, Page Stokowski! 

■ Nelson Eddy has finally gotten 
rid of one of the worries that ride 
as reverent a music-lover as he obvi- 
ously is. He has finally completed the 
great musical library in his home, and 
has neatly arranged, stacked and in- 
dexed the 8,000-item collection that is 
outstandingly Hollywood's foremost 
music museum. 

It consists of copies of songs of all the 
ages and lands ; copies of all pieces ever 
written by such noted composers as 
Mozart, Bach, Haydn, Beethoven. 
Eddy has been collecting them for years, 
but not until the other day were they 
finally assembled from the various 
trunks, storerooms, warehouse and other 
places he's been keeping them, and placed 
in his newly-finished library-museum. 
He's constantly enlarging the collection. 
Chief interest now is his quest for auto- 
graphed pieces of music to add to the 
Haydn and Mozart and other composer- 
signed items he already has. 

Final Papahs 

I Newest movie-star American citizen 
is George Brent, who came to 
America from Ireland 16 years ago, and 
got his final citizenship papers just the 
other day. "I never," he said, "was so 
happy in my life." The papers don't 
show the name of George Brent, how- 
ever. They're in his true name — George 
Nolan. Or did you know ? 

Adding To Her Etchings 

■ Strangest portrait-of-herself which 
appears on the walls of any star's 

home in Hollywood — and believe me, 
there are plenty ! — is the one Joan Craw- 
ford has just hung in her home. It's a 
pencil sketch of herself in one of these 
tower-of-babel new hats, done on a table- 
cloth ! Story : 

With John Beal and wife, Joan and 
Hubby Franchot Tone dined at a Holly- 
.wood cafe. Beal, no mean artist, 
whipped out his pencil when struck by 
Joan's new hat, and made a sketch of her. 
So thrilled was Joan that she wanted it. 
It cost Beal $1.98 for the table-cloth 
before the waiter would let them take it 
— but now the table-cloth sketch hangs, 
framed, in the music room of Joan's 
Brentwood home. 

Some Insurance 

■ And getting on the subject of Sonja, 
it reminds your faithful teller-aller 

that Sonja has just taken out another 
insurance policy, which, according to all 
available information, makes her the 
most highly-insured star in movies, with 
$3,000,000 in policies riding on her life 
and limbs. 

A major cat-astrophe happened when the 
cats followed the Ritz Brothers in the 
Goldwyn Follies. No mice to feed them 


It's all in the family. Paulette Goddard, 
who is Mrs. Chaplin to you and his fiancee 
to you, shows his sons badminton strokes 

So What 

■ Fred MacMurray loves catsup on 
his hot cakes. . . . Bette Davis wears 

make-up on the back of her shoulder 
to cover up a black mole there. . . . Joan 
Davis (yeah, she's a comedienne) likes 
beer for breakfast. . . . W. C. Fields' 
name for his socks is "droopsies" and 
Beatrice Lillie likes to wear socks when 
she sleeps, to keep her feet warm. . . . 
Myrna Loy sends telegrams rather than 
write letters . . . stuck on the lid of his 
make-up box, for luck, Wayne Morris 
has a Hebrew prayer ... so nervous is 
Tony Martin that unless he has a hankie 
in his hands to fumble with, he can't 
sing over the mike. . . . Madge Evans 
doesn't ever get into a bathtub — but it's 
all right; she takes showers. . . . Vir- 
ginia Bruce is one of Hollywood's in- 
curable finger-nail biters. 

New Paint Job 

■ Believe-It-Or-Not item : because (he 
says) it attracted too much atten- 
tion to him on the Hollywood streets, 
Nelson Eddy has had his brilliant green 
auto repainted black. 

Ah, Hollywood, how thou hast 
changed ! 

"Once Upon A Time" 

■ Elissa Landi says she's going to 
write an auto-biography that'll tell 

a lot of inside about Hollywood. She 
adds, however, that she doesn't plan to 
return to Hollywood and pictures. 
Which seems superfluous. 

Why Not Sit On It? 

■ Clark Gable has a hat-breaker-inner. 
His stand-in wears the same size 

hat as Clark. So whenever Clark buys 
a new hat, he has the stand-in wear it 
for a week, to break it in and take off 
the unfashionable "too-new" look. 

Or Just Too Darling 

I Errol Flynn will be just too, too de- 
lighted to know that Wine Lili 
Damita, talking with a gal friend the 
other day, burst out with the wifely ob- 
servation that Flynn's costumes as Robin 
Hood ''make him look too cute for 
words. ...!!!" 

Place Has Hometosis 

■ Luli Deste, determined to do The 
Thing To Do in Hollywood, has 

been hearing about all the biggies buy- 
ing ranches — Gable, Lombard, Stan- 
wyck, Lederer, Beery, et al. So Luli 
decided she'd better get herself one. too. 
So she called a real estate agent and 
bought one, sight unseen. She'd seen 
some of the {'Continued on page 59] 

I A I 



rality than they deserve. I know I am leav- 
ing myself wide open for harsh criticism by 
assuming that the movies and art are akin, 
since they have been so saturated in com- 
mercialism. However, for an artistic en- 
deavor, the movies have not been given as 
high a percentage of poetic license as paint- 
ing, for instance, or literature, or the drama. 
Do we judge a piece of sculpture as indecent 
because of the | Continued on ptu/e 89] 


ARDLY a day passes that someone 
doesn't approach me with a question 
pertinent to the moral aspect of the 
movies,'' said Edward G. 
Robinson when I asked him to 
talk about himself in particular, 
and the movies in general. "I 
attempt to treat these inquiries with the 
utmost delicacy, but I sincerely believe 
that the actor who is a conscientious 
worker should not bother himself too 
seriously with morals. He should leave 
this to preachers, reformers, legislators 
and the like. His job is to portray a 
character with true realism whether a 
villain or hero, good or bad. But, I 
don't say the actor should ignore this vitally 
consequential subject completely. Every 
actor has his opinions as I have mine. 
"Movies are credited with much less mo- 




It's smooth sail- 
ing for Andrea — 
who is steering 
straight to star- 
dom. Her next is 
Goldwyn Follies 




They can't say that Sonja cuts no 
ice in Hollywood. Ever since her 
screen debut she has been cutting 
fine figures for herself. And by 
the way, what do you think of her 
figure? Her next is Happy Landing 

In fhisN<*£ ; „ 


What makes one woman's 
skin so smooth — vitaZ 
looking? Another's dull 
and dry, even rough? 


ODAY, we know of one important 
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learned that a certain vitamin aids in 
keeping skin beautiful. The important 
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learning more and more every day! 

Aids skin more directly 

Over four years ago, doctors found that this 
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Pond's found a way to put this "skin- 
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<^//m. (UadeM, zz/oeiet 

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animal tests, skin that had been rough and 
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Women report benefits 

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Use this new cream just as before — for 
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freshening-up, and during the day before 
make-up. Leave some on overnight and 

(above) Mrs. Goelet at 
an informal musicale. 

(lower left) In the 
Museum of Modern Art, 
looking at the famous 
"Bird in Flight." 

Mrs. Goelet' s home is in 
Neiv York, where her ap- 
preciation of music and art 
is well known to her friends. 

whenever you have a chance. 
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While they last! 
purchase of a regular 
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C„ld Cream, get for only 

t>OM> ; 

torv bottle 
Pond's new-type prep- 
aration for hands. 



A S^Ny 

Copyright, 1938, Pond's Extract Company 

When Answering Advertisements, Please Mention March MOTION PICTURE 





Romance in the Dark may- 
be the title of Gladys 
Swarthout's new picture, 
but she has beauty secrets 
for such tender moments 

TOO many women are deaf — to the sound of 
their own voices !" 
This rather startling statement was uttered 
by a beautiful voice, and the voice was that 
of Gladys Swarthout. The lovely prima 
donna of the Metropolitan Opera had just 
returned from Hollywood after finishing 
her new picture, Romance in the Dark for Para- 
mount, and we were sitting in the living room 
of her apartment looking out over New York's 
East River. 

''Too many women," she went on, "have never 
really heard themselves speak. They don't know 
that they have a perfectly terrific nasal twang, 
that they're running all the words together. They 
squeak away at the top of their lungs — I mean 
that literally — when they want to be dramatic 
and impressive. And I'm sure that's because 
they're not conscious of voices at all. They've 
heard and read all sorts of advice about their 
skins, make-up, hair and nails, so they've done 
something about those things. But no one has 
made them conscious of their speaking voices. 
Every woman should really listen to herself 
speak, Miss Swarthout thinks. She may not 
like what she hears at all — probably she won't. 
But she can do something about it. Once she's 
started listening to her [Continued on page 74] 



Beauty specialists recommend this satisfying non- 
fattening confection. It gently exercises and firms 
your facial muscles in Nature's way. . . Millions of 
women chew Double Mint Gum daily as a smart, 
modern beauty aid as well as for the pleasure 
derived from its refreshing, double-lasting mint- 
flavor. Be lovely the Double Mint way. Buy 
several packages today. 

Style, what you wear is important. 
Double Mint Gum asked one of the 
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Double Mint has even had Simplicity Patterns put 
it into a pattern for you. It's the sort of dress that 
brings invitations along with the admiration of 
your friends. So that you may see how attractive 
it looks on, it is modeled for you by Hollywood's 
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^>-Thus you see how Double Mint Gum makes you doubly 
lovely. It gives you added charm, sweet breath, beautiful lips, 
mouth and teeth. It keeps your facial muscles in condition and 
enhances the loveliness of your face and smile. Enjoy it daily. 

yazMt- < ^'e*i*L&&. — beautiful Hollywood star now 

appearing in "I Met My Love Again," a Walter Wanger 

production — modeling Double Mint dress . . , 

designed by ^^h-e^C'-e^H. ^/&w&5- 

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When Answering Advertisements, Please Mention March MOTION PICTURE 



Mushrooms and halves 
of hard-boiled eggs 
add interest as well 
as flavor to a dish 
of red kidney beans 

For a change serve 
asparagus hot. And 
potatoes cut in 
balls, chips or dice 
are very effective 




srin B 



THE end of Winter, as it trails off towards an 
uncertain Spring - , is, in the opinion of many 
women, one of the most difficult and trying periods 
in all housekeeping. And why ? Because hasn't 
the poor homemaker wracked her brains thinking 
"what shall we have for dinner tonight?'' and 
worried about dishes and meals all winter long? 
And isn't the supply of fresh foods, particularly 
vegetables, much more limited than it was six months 
previous? The same old cabbage and parsnips and 
carrots — gracious why aren't there new and fascinating 
things to eat, instead of the tediously familiar merchan- 
dise of the store? 

Ah, but there are new foods, novel dishes, and even 
glamorous taste delights, if you will only make the 
most of canned foods, particularly canned vegetables. 
"Oh," I hear some readers saying, "I know all 
about canned tomatoes and corn and peas; why we 
just open a can and serve them all the time." Oh, 

/eah ? 

Well, just opening a can isn't all there is to preparing canned 
vegetables. No, not on your Mickey Mouse (or your Robert 
Taylor either) ! And that, dear readers, is my first point: 


merely opening a can and turning its contents into a saucepan ; 
bringing it to a tepid heat, and serving, is the poorest, yes, 
the most inadequate method of treating your so valuable 
canned products. [Continued on page 77~] 

That Nasty Man 

[Continued from page 33] 

Love from a Stranger, Kind Lady, Tova- 
rich et cetera. It proved to producers that 
he "had something." He has. An arresting 
personality anywhere you put him — stage, 
screen, drawing-room. 

TO PUT the entire credit for the success 
of the many highly profitable films that 
he has been in on his shoulders is ridiculous. 
Rathbone is the first to admit it. There was 
a Garbo to help Karenina along. Rathbone 
played her husband in the Dostievsky story. 
This Russian and his writings have had an 
influence on the English actor's life. His 
only son is named after Dostievsky's hero 
of Crime and Punishment . . . Rodion. "I 
learned afterward that in Russian Rodion 
means 'first-born,'" explains Rathbone. "In 
Armenian it means 'light.' " Scraps of in- 
formation like this are important _ to 
Rathbone's mental happiness. He likes 
piecing them together. As a whole they 
embroider his thinking and contribute vastly 
to his enjoyment of life. And he loves to 
live. Conversely, he also like to sleep. So 
does his fellow artist, Gary Cooper. The 
Adventures of Marco Polo, therefore, was 
a pleasant engagement for Rathbone and 
Cooper. They spent off-stage moments doz- 
ing comfortably in their set chairs. 

But to return to Rathbone's career — 
Ronald Colman, of course, gave luster to 
the star part of Sidney Carton in A Tale of 
Two Cities. The Marquis St. Evremonde, 
however, was Rathbone, and brilliantly con- 
trived. There were Dietrich and Boyer in 
Garden of Allah. And so forth. But always 
there is Rathbone with his arrow-straight 
figure, big aristocratic nose, exquisite dic- 
tion, and his instinctive feeling for the 

"I've been very lucky in getting good 
parts," he explains. But there's more to it 
than that. Like good whiskey it takes time 
for an actor to mature. Starting with the 
Bard's classics at twenty, Rathbone has had 
twenty-five years of theatrics. His first 
part was in The Taming of the Shrew. He 
stepped naturally into the role of the ravish- 
ing Romeo, and from there ran the gamut of 
Shakespeare's plays. He might still be 
playing them at Stratford-on-Avon if 
Constance Collier, then a reigning London 
favorite, had not glimpsed him from the 

"There," she exclaimed, "is the man for 
Peter Ibbetson." So Rathbone went to 
London. It followed, of course, that after 
Ibbetson he joined Mrs. Patrick Campbell 
(Shaw's "dear Beatrice Stella") and then 
Impresario Gilbert Miller thought Rathbone 
would be excellent in the rebels' land, 
America. In 1922 Rathbone made his New 
York debut with Doris Keane in The Czarina 
. . . but much more happened between the 
time of his birth and 1922. There was a 
World War, and you know how Englishmen 
are about Empire and all, when the home soil 
is threatened. Basil was no exception. 

IT MAY be that military training had 
something to do with the thing that draws 
all eyes to him today, that makes him domi- 
nate any group, theatrical or otherwise, that 
includes him . . . his excellent posture. He 
stands square-shouldered, without stooping, 
his head held high, like a soldier. He is six- 
feet-one-inch, and doesn't try to make him- 
self any shorter. It may be that which sets 
[Continued on page 57] 




DOES dirtskeedaddle! mom 








When Answering Advertisements, Please Mention March MOTION PICTURE 

Copr., Fels £ Co.. 1938 



In C'u 

• That's what happens to 
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yet tests of the largest selling lotions prove that 
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Try Italian Balm yourself — as a protection 
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• -Rrush Mann^ 1 "'" telU Toan Crawford 
l n A Spencer Tracy „ newcornei, sco RUdon , Oscar ^ {ord whc 

SB. - &TK*£'W , S3W£ S 


her to divorce n nn -- £0 that she ^j;\ ui no t became ^ ^ ^ e 

because she resPecs^n ^ yo«*^ U dw y»-Mayer. 

^roTtr^PPeaUn, love scenes. 



S^ ■^^ WBBI *^ , maM m«* Vo**? « S ^/ u probably 


li-r^see 1 ^--'- 



Accept No Substitutes ! Always Insist on the Advertised Brand! 

That Nasty Man 

[Continued from page 55] 

him apart, or it may be a triumph of person- 
ality, explained by his next statement: "I 
love to live," he says. "I'm not afraid to 
die, but I'd much rather live." 

Theatrical as it sounds as he proclaims 
it over a forkful of scrambled eggs, he means 
it. He should be Latin, with his enthusiams, 
his dark coloring. Instead, he is English, 
born in Johannesburg, South Africa, 0:1 
June 13th. He has never bothered to take 
.nit naturalization papers for American citi- 
zenship, yet he calls Hollywood "home." 
He is intuitive, feeling things before they 
happen. He is all imagination . . . and all 

"My only brother and I joined the Army 
about the same time in 1916," Rathbone tells. 
"We were stationed thirty miles apart when 
I had a bout with trench fever and was sent 
up to the hospital for treatment. One morn- 
ing I awakened feeling terribly depressed. 
It seemed as though a dark cloud had de- 
scended on me. 'Look here,' I told myself, 
'a commissioned officer doesn't feel this way.' 
By that time I held a Lieutenancy with the 
Liverpool Scottish, although I had joined 
up with the London Scottish. 'It must be 
the fever,' I said, but I couldn't shake off 
the mood. My nurse commented on it when 
she brought my lunch. I could not eat it. 
'I'll write a letter to my brother,' I said 
restlessly, and took up pen and paper. At 
precisely the moment that I wrote his name 
in salutation he lost his life in a terrific at- 
tack up the line . . . 

"I had the same feeling last year when my 
wife and I returned from England. For 
days I felt depressed, melancholy. 'You are 
in your "ivory tower" again, my dear,' my 
wife said to me. She says that whenever I 
am silent and not given to speech. It's a 
joke with us because according to translators 
the name Rathbone means 'ivory tower.' 

"Soon after our return home I called some 
of the dogs, and my life-long friend and 
house-guest, John Miltern, joined me for 
a walk in the hills. Coming home it was 
dusk and the traffic on Los Feliz Boulevard 
was an endless stream. In handling the dogs 
John and I had to cross the boulevard 
separately. A speeding car hit him, and 
killed him instantly. The black mood of 
depression lifted immediately. I knew then 
what it was. It was a forewarning of dis- 

PSYCHIC as he is and keenly sensitive to 
the hidden currents beyond the reach of 
most men, Rathbone is pretty good company. 
He plays an excellent game of tennis. In 
England he played cricket. In America he 
played football. "Golf I play for pleasure, 
not business," he says ; adding, "I belong to 
the Riviera Golf Club, but no others. I am 
in no sense a 'club man.' " Nevertheless, 
Who's Who in the Theatre lists him as a 
member of the Players' Club. But what 
eminent actor isn't a member? It also lists 
"driving" as one of his favorite pastimes. 
It was his love of motoring that brought him 
to the realization that California would 
henceforth be "home" to him. 

"Mrs. Rathbone and I were driving one 
evening, high on one of the roads that goes 
toward the sea on the outskirts of Holly- 
wood. We came to a tangle of trees and my 
wife said 'See, Basil, that wonderful acre- 
age ! I'd love to build a house on property 
just like it.' 'Why not on it?' I asked, and 
we scrambled out of the car, through bram- 
[Continued on page 69] 

****** # 

A petal-like smoothness 
from top to toe 

Women say it's the Number One care 
the entire body needs — this com- 
bination of the Linit Magic Beauty Mask 
and the Linit Beauty Bath. 

This beauty treatment costs almost 
nothing, yet it is a wonderfully effective 
way to refresh the whole body and at the 
same time stimulate and clarify the com- 

First make the Linit Magic Beauty Mask: 
*Simplymix three tablespoons of Linit (the 
same Linit that is used for the bath) and 
one teaspoon of cold cream with enough 
milk to make a nice, firm consistency. 
Apply it generously to the cleansed face and 
neck and then step into your tub into 
which a handful or so of Linit has been 

While the velvety smoothness of 
the Linit Beauty Bath is caressing 
your body, the Linit Magic Beauty Mask is 
gently inducing facial circulation to throw 
off sluggish waste matter. Relax for twenty 
minutes, then step out and dry off. Rinse 
the mask from your face and neck with 
clear, tepid water and pat thoroughly dry. 

How refreshed — how vibrant your 
whole body will feel! Hours of fatigue 
seem to vanish in a few minutes. 

You will find that the Linit Magic Beauty 
Mask leaves the face and neck with a petal- 
like smoothness, a velvety "film" that is 
an excellent powder base. This helps to 
heighten the allure of your make-up and 
keep it fresh-looking for hours longer. 


*lst STEP 

Mixing takes a 

3rd STEP 

Resting for 20 

2nd STEP 

Applying takes a 

When Answering Advertisements, Please Mention March MOTION PICTURE 

4th STEP 

Rinsing off com- 






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City State 


[Continued from page 10] 

Virginia Bruce, who thought she could never fall in love again, much less get mar- 
ried, is now the wife of Director J. Walter Ruben. The wedding occurred December 18 

THIS Tyrone Power-Janet Gaynor 
twosome "is the real thing, take it from 
01' Man Tattler. Whereas that now-de- 
funct Tyrone- Sonja Henie "romance" 
started out as an out-and-out publicity stunt 
and never really got very far beyond that 
stage, the Tyrone-Janet affair was one of 
those spontaneous conflagrations that's now 
headed straight for matrimony. 

Your Ol'Tattler knows, but positively, 
that at least twice within the past couple of 
months, Ty and Janet have been very near 
the altar — only side tracked, as a matter of 
fact, because their supposedly secret elope- 
ment-plans got out and the news made it 
impossible for them to go through with it. 

However, don't be surprised if they do marry 
and maybe even before you read this in print. 

Fully in favor of the romance is Janet's 
mother, who chaperoned Ty and Janet not 
long ago when they pulled a fast one on 
Hollywood by hiding out for a five-day ro- 
mantic holiday together in a non-fashionable 
desert resort, instead of publicity-ridden 
Palm Springs. 

Not so fully in favor of marriage for 
Tyrone is his mother, Patia Power, who 
feels that Ty really ought to give his career 
an unhindered chance before leaping into 
matrimony. However, Mrs. Power has been 
in Honolulu for months, as this is written. 
[Continued on page 60] 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

The Talk of Hollywood 

[Continued from page 47] 

other stars' "ranches" — with their neo- 
Spanish mansions, their ten-car garages, 
their blue-and-pink tiled swim pools, their 
badminton and tennis courts, their stables 
and orchards and groves and all that sort 
of thing. 

So, all prepared for her own magnificent 
ranch, she went out to see it the other day. 
And now she's wondering what to do — be- 
cause all it had on it was an ancient clap- 
board shack, without even piped-in water, 
electricity or any modern conveniences. Not 
until now does Luli realize that it's only 
after she's bought the ranch that the Holly- 
woodizing of it begins. Until she decides 
whether to go ahead or call it all off, she's 
using the ranch and such buildings as are 
on it as kennels for her flock of Russian 

Not Jersey Justice 

Fan-Letter Record-of-the-M onth : — to 
Deanna Durbin, from a young man in 
Ridgefield, New Jersey, a fan letter consist- 
ing of 188 pages of handwritten script ! 

Latest Scarlett 

■ Tip for Bettors on What's-Gonna-Hap- 
pen-in-Hollywood : It's even money that 
when, or if, Clark Gable plays Rhett Butler, 
there'll be a studio deal whereby Carole 
Lombard will play Scarlett O'Hara. 


No longer does Hollywood change the 
name of its stars-to-be via the whim-of- 
the-boss method, or the numerology plan, or 
anything else than pure out-and-out science. 
For it was science that chose the name 
"Lilli Marlowe" for Dolly Haas, the Euro- 
pean actress recently imported by Columbia 

When Columbia execs decided "Dolly 
Haas" wasn't umph-umph enough as a 
screen name, they laid the problem in the 
hands of Dr. Ray Keeslar Immel, B. A., 
M. A., Ph. D., dean of the University of 
Southern California's School of Speech, and 
consulting editor of the International Dic- 
tionary. "Give her," the movie big shots 
pleaded, "a scientifically perfect name." 

So science, in the person of Dr. Immel and 
his aides, functioned and brought forth, 
finally, "Lilli Marlowe." It is (a) euphoni- 
ous and (b) has "marquee psychology," says 
Dr. Immel, adding : "it is rich in liquid 
letters and the vowel and consonant sounds 
have a perfect continuity of flowing rhythm. 
Lilli conveys an exotic flavor ; Marlowe adds 
grace and distinction." 

Ah, di mi ! 

Quaint-Whimsies Department 

B Allan Jones, gadgeteer, now has a trick 
red light in his dressing-room, hooked 
up with the cameras so it flashes when a 
scene is being shot, warning Jones to turn 
off his radio and be quiet. 

Clark Gable has gone in for carrier-pigeon 
training on his valley ranch. 

Billie Burke always takes a two-mile hike 
before reporting at the studio, regardless of 

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[Continued from page 58] 

Hollywood insiders would be not at all sur- 
prised if by the time she comes back, Mama 
Power finds she's got a daughter-in-law 
named Janet. 

MEANWHILE, Sonja Henie de- 
votes herself to her skating, 
which, even at the height of her much- 
publicized romance with Tyrone, 
really still retained first place in her 
heart. Now and then, Sonja steps out 
with some Hollywood swain. There's 
been Cesar Romero, and more recently 
Jimmy Stewart. But there's no fire 
in it for the little blonde Scandina- 
vian. Evidently she's not going to let 
herself get in as deeply again as she 
did in the Tyrone thing. And besides 
rumor has it there's a "heart" back in 


— really surprised was Clara Bow when 
she showed up at her "It" Club on Vine 
street, the other night, and found the place 

Here is Exhibit "A," taken at the new 
Victor Hugo restaurant, proving that Cary 
Grant 'n' Phyllis Brooks are that way 

Cynthia Hobart and Russell Gleason of 
Hollywood's Younger Set will be married 

crowded with friends of her hubby Rex 
Bell. Not until then did Clara realize it was 
the sixth anniversary of her wedding to Rex. 
Reversing the usual state of affairs, it was 
Hubby Rex who remembered and Wifie 
Clara who'd forgotten the date. It was 
Rex's party. 

Not at all surprised when they found them- 
selves still head-over-heels in love and hap- 
pily married on their fifteenth wedding an- 
niversary were Mr. and Mrs. Neil Hamilton. 
Hamilton, one of Hollywood's handsomest, 
is also one of Hollywood's most devoted 
hubbies. You can bet that when it comes 
to their silver anniversary, they'll still be 

Claire Trevor and Bentley Ryan— 
There's a twosome Cupid's eyein' . . . ! 

JON HALL'S been getting all sorts of 
reactions to his sudden leap to romantic 
fame in Sam Goldwyn's Hurricane. His 
recent transcontinental personal-appearance 
tour brought him two extremes of this re- 
action — 

Extreme No. 1. — in San Francisco, intro- 
duced before a big luncheon of business men 
as "Sam Goldwyn's gift to the ladies," Jon 
[Continued on page 90] 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

On To Hollywood with 
Movieland Tours 

[Continued from page 14] 

Even now letters are pouring in asking us 
about these annual Tours. Heretofore 
Faweett Publications conducted only two 
Tmirs each summer. But due to the heavy 
demand for reservations which we en- 
countered last summer — reservations which 
we could not fill entirely because there was 
no more room on the trains — we will con- 
duct THREE TOURS this summer. 

So if you can't make the first Tour, or the 
second — then you can make plans to go on 
the third. These tours will leave about 
three weeks apart. So make your vacation 
plans now and be sure of an early reserva- 
tion. Remember first come, first served. 
Use the coupon which explains everything. 

^"hat a thrill you will experience when 
you step aboard the MOVIELAND 
SPECIAL — for the vacation of a lifetime. 
The minute the train leaves Chicago you 
will be getting an eye-opener of scenic mag- 
nificence. You will travel into Minnesota's 
10,000 lakes country, then speed into the 
great Northwest — the land of the sky-blue 
waters (made famous in song and story). 
You will see the scenic glories of Rainier 
National Park — with Mt. Rainier — "Amer- 
ica's Noblest Peak" — to enthrall you. You 
will be passing over the Rockies, and when 
you reach Seattle you will be taken aboard 
the Puget Sound cruise to catch the thrill 
of a boat ride. And that isn't all. You will 
then pass down to San Francisco, take in the 
Golden Gate — one of the most beautiful 
harbors in the world, see Chinatown and the 

And then the Thrill of Thrills— HOLLY- 
WOOD — with everything that the magic 
city of stars and movies and studios suggests 
in your imagination. There you will be 
royally entertained. It will be constant 
Open House for you everywhere. Western 
hospitality will greet you on every hand. 

You will even be met by a prominent star 
who will escort you to your hotel. You will 
lunch at Clara Bow's new "IT" restaurant 
■ — already famous as one of the favorite eat- 
ing spots of the stars. You will attend a 
dinner-dance at the celebrated Wilshire 
Bowl. You will be taken on auto rides 
through Hollywood and Beverly Hills, 
where the Big Stars live. You will take in 
the big studios, the attractive shops, the 
beaches. And you will be meeting the stars 
face to face, dining with them, dancing with 
them, enjoying cocktail parties at their 

Yes, cocktail parties will be given by Bob 
Bums — the man who made the bazooka 
famous, Warren William and Harold Lloyd. 
One of these three stars will entertain 
vacationists on each of the Tours. Harold 
Lloyd has the most magnificent home and 
estate in the entire picture colony — one 
which even includes a golf course. 

The round of festivities includes a per- 
formance at Grauman's Chinese Theatre, 
one of the showplaces of Hollywood — and a 
visit to a big radio broadcast. Remember 
that Hollywood has become the radio capital 
of the U. S. A. — as well as the picture 
capital. You will see how stars are aided 
in their beauty make-up by being the guests 
of Max Factor at his Beauty Salon. And if 
you want time to be on your own there are 
all kinds of thrills to enjoy — such as side 
trips to Lake Arrowhead, Catalina, San 

[Continued on page 63] 


'X? 51 


Break his Spell with a Greyhound Trip 

South to Sunshine— 

or North to Winter Fun 

WINTER is a grand old fellow— when you get 
to know him! Give Greyhound the pleasure 
of introducing you— where winter smiles in health- 
giving sunshine on gay Florida beaches, along the 
warm Gulf Coast, through the romantic South- 
west, or in colorful California. Famous modern 
Super-Coaches are miracles of smooth riding— 
healthfully heated and ventilated. You can go one 
route, return another at no extra fare— and at big 
savings over other transportation. 

Can't spare time for a southern vacation? No 
matter! "Winter in the snow zone becomes a 
friendly season when Greyhound trips are sched- 
uled. Visits to family or friends, or trips to exhila- 
rating winter sports will be warm, safe, scenic. So, 
break the spell of the cold season with pleasant, 
low-cost trips by Greyhound. 


Cleveland, O E. 9th & Superior 

Philadelphia, Pa. . . Broad St. Station 
New York City . . 245 W. 50th Street 

Chicago, III 12th & Wabash 

San Francisco, Cal., Pine & Battery Sts. 
Ft. Worth, Tex. . . . 905 Commerce St. 
Charleston, W. Va. . . 155 Summers St. 
Minneapolis, Minn., 509 6th Ave., N. 

Boston, Mass 60 Park Square 

Washington, D. C 

1403 New York Ave., N.W. 

Detroit, Michigan 

. . . Washington Blvd. at Grand River 
St. Louis, Mo., Broadway &Delmar Blvd. 
Lexington, Ky. . . . 801 N. Limestone 
Memphis, Tenn. . . . 527 N. Main St. 
New Orleans, La., 400 N. Rampart St. 

Cincinnati, 630 Walnut St. 

Richmond, Va 412 E. Brood St. 

Toronto, Ont. . . 1501 Royal Bank Bldg. 

London, Eng A. B. Reynoldson 



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you wish. If you want complete information on any special trip, jot down place 
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Director of "True Confession" 

WHEN Wesley Ruggles, then sixteen, 
fled the San Francisco abode of his 
parents under the cover of darkness, 
and joined up with a roving repertoire troupe 
staging melodramas for the edification of 
cross-road "opry house" audiences at 10, 20 
and 30 cents per patron, he unconsciously 
pointed his star along a path that was des- 
tined to lead him, years later, to fame and 
riches via the movies. 

Today, chieftains of the motion picture 
industry look upon Ruggles as a "super- 
showman." He is one of the very few Holly- 
woodians rating the dual title of producer- 
director ! 

He has been turning out hit pictures ever 
since January 1, 1919, when, upon his return 
from France (and the war), the old Vita- 
graph Company handed him a megaphone 
and assigned him as director of Alice Joyce's 
starring vehicles. Among his outstanding 
successes of recent years are the Academy 
Award winner, Cimarron, Are These Our 
Children? No Man of Her Own, College 
Humor, I'm No Angel, The Gilded Lily, 
Accent on Youth, Valiant is the Word for 
Carrie, and / Met 
Him in Paris. 

Wesley Ruggles 
was born in Los 
Angeles, the son 
of Mr. and Mrs. 
Charles S. Ruggles, 
no n - professionals. 
When he was of 
kindergarten age, 
the family moved 
to 'Frisco, where, 
even during his 
grammar - school 
days, his thoughts 
revolved around the 

When he reached 
his junior year in 
High School, the 
lure to become an 
actor swelled to 
such over-powering 
proportions that he 
could no longer re- 
sist, so, in face of parental opposition, he 
chucked his text books, stowed extra clothing 
in a bundle, and slipped from his bedroom 
window one night after the rest of the 
household was asleep. 

Beginning his career as a stage hand at 
$4 a week — when the company's treasurer 
had sufficient funds on hand to pay salaries — 
he soon graduated to juvenile roles at $7.50, 
and a few months later found himself with 
a more substantial stock company at $25. 

After two years of emoting for others, 
Ruggles launched his own troupe, known as 

In directing True Confession with 
Lombard, John of the Barrymores, 
MacMurray, Ruggles saw to it that 
a good time was had by all of them 

"Ruggles' Minstrels," and set out to con- 
quer the world, but seldom did the week's 
"take" at the box-office equal the payroll 
and other expenses, and he soon found him- 
self hungry as well as "broke." 

In 1914, he came to Hollywood and joined 
Mack Sennett's Keystone Kops. During the 
three years that ensued, he tried in turn 
almost every job a studio can offer, includ- 
ing property man, film editor, scenarist and 
assistant director. 

When Uncle Sam entered the World War, 
Ruggles enlisted as a private in the Signal 
Corps, and was discharged as a first lieu- 
tenant. It was then he went to work for 
Vitagraph, guiding Alice Joyce. Subsequent 
silent pictures which helped motivate his 
career were The Plastic Age, Silk Stock- 
ings, and Finders Keepers. It was in this 
latter that he fostered the screen debut of 
his "discovery," Jack Oakie, and started him 
toward stardom. 

Ruggles has been married only once — to 

Arline Judge, the mother of his son. Charles 

Ruggles, the comedian, is his brother. His 

close friends include executives of the studios 

where he has 

worked and the 

"big name" stars 

he has directed. Of 

some of the latter 

he says : 

"Carole Lombard 
is a real pal and a 
good soldier. She 
will act as "prop" 
boy if necessary in 
order to assist her 
director in getting 
a good picture. 

"Mae West is 
Mae W e s t — and 
that speaks vol- 

"George Raft is 
quiet, soft-spoken 
and at times per- 
plexing, yet withal, 
a good trouper who 
is willing to do 
what director asks." 
Wes Ruggles might be mentioned as one 
of the undefatigable workers, too. And he 
had to make a trip to Europe recently to get 
away from it all. The praises of True Con- 
fession were sweet music to his ears as he 
tripped down the gangplank. 

CORRECTION. Motion Picture erred 
in the January issue in crediting Roy Del 
Ruth (who directed Broadzvay Melody of 
1938) as the director of Rosalie. The di- 
rector of Rosalie is W. S. Van Dyke, who 
had complete directorial charge of the pic- 
ture from start to finish. 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

On to Hollywood with 
Movieland Tours 

[Continued from page 61] 

One of Hollywood's leading hotels will be 
your home while in the studio city — after 
you have traveled over the wonderland of 
the American West. Everything is being 
planned to provide you with a vacation that 
you will remember the rest of your life. You 
will return home knowing that you have 
seen Hollywood, have met the stars per- 
sonally — with enough thrilling experiences 
stored in your memory to last a lifetime. 

And don't forget to take a camera — for 
you will want to take snapshots of the scenic 
glories that greet your eye en route to Holly- 
wood and return, as well as the studios, stars, 
their homes, the magnificent lawns, flower- 
beds, swimming-pools. You will also meet 
new friends among the other vacationists. 
You will want to have snapshots of them, 

And when your Hollywood stay is over 
you will be given special sight-seeing tours 
on the trip back to Chicago — which includes 
a tour of Salt Lake City and a visit to the 
Mormon Tabernacle, stops at Royal Gorge, 
Colorado Springs, with an auto trip to the 
Garden of the Gods, Cheyenne Mountain — 
and a dinner at the summit. 

The first tour leaves Chicago Sunday, 
July 3. The second tour leaves Chicago 
July 24, and the third tour leaves Chicago 
August 14. All you need to do is plan 
which trip is most convenient for you. All 
three transcontinental tours will enjoy 
identical party plans in Hollywood — so all 
that is necessary is for you to, select which- 
ever date is most convenient for your 

If you take the first trip leaving Chicago 
July 3, you will arrive in Hollywood July 
10; the second trip arrives there on July 31 
— and the third trip on August 21. You will 
be away exactly two weeks from the time 
you leave Chicago until you return. The 
first tour returns to Chicago July 17, the 
second tour August 6, the third tour 
August 27. 

As we mentioned before, applications are 
already beginning to pour in for the 
THREE expeditions being organized this 
year. They will be BIGGER and BETTER 
than the amazingly successful Movieland 
Tours of 1935, 1936 and 1937. A special 
train has been chartered for each journey 
through the scenic grandeur of the West — 
and return. The minute the engine sounds 
'Whoo .... Whoo . . Whoo . . Whoo"— you 
will get the thrill and excitement of your 
life — knowing that with every revolution of 
the wheels the train is carrying you nearer 
and nearer to magic Hollywood. With four 
days there to enjoy the utmost in gayety 
and widespread sight-seeing. 

The April MOTION PICTURE will 
include further details of the 1938 Holly- 
wood Tours. Since we can publish only 
the highlights in the magazine, the com- 
plete data will be furnished you by writing 
to MOVIELAND TOURS, 360 North 
Michigan Boulevard, Chicago, 111., for a 
free illustrated booklet. This booklet 
contains complete details of the tour, 
itinerary, scenic vistas — and gives sur- 
prisingly low cost of the tour. 

Better still, if you wish to make sure 
of a place in the TOUR, already in big 
demand, use the coupon on page 14, and 
send in $5 per person to reserve a ticket. 
Play safe. Remember, to be sure of 
going you should act promptly. Summer 
will be here before you realize it. 


See how one of these ten thrilling new face powder colors 
will win you new radiance, new compliments, new luck! 

Doesn't it make you happy to get that second 
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But maybe you haven't heard a compli- 
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But don't be too quick to blame yourself— 
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"Why, my face powder isn't like that," you 
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Where is this transforming color? It's in 
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For I will send you all ten, free and post- 
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When my gift arrives— try on every shade. Try 
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what I do for you. Look how I make your 
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skin!" You'll see how the color seems to 
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Have you a lucky penny? 

Here's how a penny postcard will bring you 
luck. It will bring you FREE and postpaid all 
ten shades of Lady Esther Face Powder, and 
a generous tube of Lady Esther Four Purpose 
Face Cream. Mail the coupon today. 

(You can paste this on a penny postcard) (40) 

Lady Esther, 7130 West 65th Street, Chicago, Illinois 

I want to find my "lucky" shade of face powder. Please send me your 10 new shades 
free and postpaid, also a tube of your Four Purpose Face Cream. 





(If you live in Canada, write Lady Esther, Toronto, Ont.) 

When Answering Advertisements, Please Mention March MOTION PICTURE 






For more beautiful eyes, be sure to 
get WINX — mascara, eye shadow 
and eyebrow pencil. Look for the 

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If you suffer with those terrible at- 
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It will cost you nothing. Address: 
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Bldg., 462 Niagara St., Buffalo, N. Y. 

Who's Whose In Hollywood 

[Continued from page 35] 

BECK, TOMMY— Still one of Hollywood's 
handsomest bachelors. 

BEERY, WALLACE— In February, 1916, 
married Gloria Swanson. It lasted about a year. 
His present marriage (to Rita Gillman) looks per- 
petual. Has an adopted 6-year-old, Carol Ann, 
around whom his world revolves. 

BELLAMY, RALPH— Married to_ Catherine 
Willard, English actress, who calls him "Ralph- 
alf." His first marriage, her second. 

BENNETT, CONSTANCE— Her first _ mar- 
riage, to Chester II. Moorhead, University of 
Virginia student — was annulled. Her second — to 
Philip Plant, millionaire playboy — ended in divorce 
and a handsome property settlement. On January 
9, 1932, she adopted a child, Peter. On November 
22, 1932, she married Marquis Henri de la Falaise, 
who now makes travel pictures. Contrary to popu- 
lar impression, they are not divorced — yet. 

BENNETT, JOAN— At 16, Joan married John 
Fox, at 17 was a mother, at 18 was divorced. To 
earn a living (she wanted no alimony), she became 
an actress. Married writer Gene Markey in March, 
1932, had a second daughter, was credited with 
two successful careers. Received interlocutory 
divorce, May, 1937. 

BENNY, JACK— Since January 12, 1927, he 
has been listening to Mary Livingstone's poetry. 
This one looks permanent. They have an adopted 
3-year-old, Joan. 

BERGEN, EDGAR— Single. (Business of 
knocking on Charlie McCarthy's head.) 

BERNIE, BEN— He married a Palm Beach 
girl, Dorothy Westley, which explains all those 
Florida visits. They have a grown son, Jason. 

BLANE, SALLY— Her first and only husband 
is Norman Foster, who used to be married to 
Claudette Colbert. Daughter Gretchen born June 
7, 1936. 

BLOND ELL, JOAN— When she married 
cameraman George Barnes on January 4, 1933, she 
wanted to change her screen name to Joan Barnes. 
They had a son, Norman. Then, in September, 
1936, they had a divorce. The same month, she 
married Dick Powell — and they had Hollywood's 
most hectic honeymoon. 

"DLORE, ERIC— Tn 1917 he married a London 
■" actress, Violet Winter. She died, childless, in 
1919. In 1926 he married Clara Mackin. also an 
actress. They had a son, Eric, Jr., in 1927. Re- 
cently separated. 

BOGART, HUMPHREY— The first Mrs. 
Bogart was actress Helen Mencken (div. 1925). 
The second, actress Mary Phillips (div. 1937). 
The third — when the second divorce is final — will 
be actress Mayo Methot. 

BOLAND, MARY— Has always lived alone and 
liked it. 

BOLES'. JOHN— Married to Marcelite Dobbs 
since the day he graduated from college, in 1917. 
They have two deb. daughters, Marcelite and 

BOWMAN, LEE— Eligible. Currently the 
favored escort of Ginger Rogers. 

BOYD, BILI^-When he married Grace Brad- 
ley, newspapers credited him with four ex-wives. 
Two ex Mrs. Boyds: Elinor Fair and Dorothy 

BOYER, _ CHARLES— Long a bachelor, he 
finally married in haste, courting Pat Paterson 
just three weeks before they eloped to Mexico, 
February, 1934. 

BRADLEY, GRACE— As a schoolgirl, she used 
to paste Bill Boyd's picture in her schoolbooks. 
Last June 5, she married him. 

BRADNA, O L Y M P E — Seventeen-year-old 
"O'Lamp" isn't even thinking of marriage yet. 

BRADY, ALICE — Love Alice, and you have to 
love her dogs. Maybe James L. Crane didn't. 
Anyway, their marriage lasted only two and a half 

BRENNAN, WALTER— In 1920 Ruth Wells 
risked sharing his struggle. Now she's sharing his 
success. Children: Wells, Walter, Jr., and Ruth. 

BRENT, GEORGE— He hasn't been lucky in 
love. After a brief marriage, divorced from one 
Helen Campbell in 1929. On August 13, 1932, 
married Ruth Chatterton. On October 4, 1934, 
divorced. On May 10, 1937, eloped to Mexico 
with Constance Worth, Australian actress. Two 
months later he asked for an annulment. The 
court turned him down. She obtained divorce, 
December, 1957. 

BRTCE, FANNY — First sang My Man when 
married to mystery-man Nicholas (Xicky) Arn- 
stein, by whom she had two children, William 
Jules and Frances. Later married showman Billy 
Rose, who recently announced candidly, if ungal- 
lantly, he was divorcing her to marry Eleanor 

T) RODERICK, HELEN— Since 1916. Mrs. 
•" Lester Crawford. They were a famous vaude- 
ville team. They have a big boy — Broderick 
Crawford, who is achieving Broadway fame in the 
smash hit, Of Mice and Men. 

BROOKS, PHYLLIS— The next Mrs. Cary 
Grant, if they haven't already eloped. 

was nee Cornelia Foster. They have a son born 
in 1933. 

BROWN, JOE E.— Claims he has been married 
as long as he can remember — and to the same 
woman, Kathryn McGraw. They have two grown 
boys, and two little girls (one adopted to replace 
baby they lost). 

BROWN, TOM — Married twice to Natalie 
Draper. First, on July 5, 1937, aboard a yacht. 
Then, ten days later, on land. Now honeymoon- 
ing in England. 

BRUCE, NIGEL— Married since May 10, 1921, 
to Violet Campbell, actress. They have two 
daughters, Pauline and Jenifer. 

BRUCE, VIRGINIA— She was 21 when, on 
August 10, 1932, she became the fourth wife of 
John Gilbert, by whom she had a daughter, Susan 
Ann, in 1933. They were divorced May 25, 1934, 
only shortly before his death. While working on 
Bad Man of Brimstone, she and Director J. Walter 
Ruben fell in love, married him December 18, 1937. 

BRYAN, JANE — Being strenuously courted by 
one of the Kellogg heirs. 

BURKE, BILLIE— Widow of Florenz Zieg- 
feld, mother of Patricia Ziegfeld. 

BURNS, BOB— His first wife, Elizabeth Fisher, 
mother of his 13-year-old son, died August 1, 1936, 
just when luck was turning in his favor after years 
of struggle. On May 31, 1937, lonely Bob mar- 
ried his secretary, Harriet Foster. Now heir-con- 
ditioning their home. 

BURNS, GEORGE— See Gracie Allen. 

acquaintance, married Ethel Kenyon Sutherland, 
December, 1932. Divorce rumors currently pop- 

BYINGTON, SPRING— Believes a divorcee 
should get alimony only in proportion to time she 
was married. Divorced herself, from a gentleman 
named Chandler. Has two daughters in college, 
Phyllis and Lois. 

pABOT, BRUCE — Married Adrienne Ames in 
^ 1933, legally adopted her daughter, then was 
divorced April, 1937. 

CAGNEY, JAMES— It was love at first sight 
with Jimmy and his actress-wife, Frances Vernon 
— and that was more than a decade ago. 

CANTOR, EDDIE— When he married Ida 
Tobias in 1914, Eddie had hardly five dollars. 
Now he has five daughters, Marjorie, Natalie, 
Edna, Marilyn and Janet. 

CARLISLE, MARY— Still keeping the boys 

CARRADINE, JOHN— After the movies finally 
found John, in 1935, he soon found a wife, 
Ardanelle Cosner. They have a little John, born 
December, 1936. 

CARRILLO, LEO— His rivals for California's 
governorship, probing his record, will find only 
one marriage — to Edith Shakespeare. They have 
an adopted daughter, Marie Antoinette. 

CARROLL, MADELEINE— Married since 
1931 to wealthy Philip Astley of the Chequers, 
England, Astleys. One of the more successful 
long-distance marriages. 

CARVER, LYNNE— As Virginia Reid. she 
gave up films in 1935 to marry Dr. R. C. McClung 
of Birmingham, Ala. Divorced in 1936, she came 
back with a new name. On July 18, 1937. married 
Nicholas Nayfack, young M-G-M executive. 

CHAPLIN, CHARLIE — No one was certain 
he had married Mi'dred Harris in 1918 until she 
divorced him in 1920. His second marriage — to 
Lita Grey — was no secret. She gave him two 
sons, Charles, Jr., and Sydney, before their divorce 
in 1927, when she won boys' custody. Everybody 
suspects Paulette Goddard is Wife No. 3 — but they 
won't talk. 

CHATTERTON, RUTH— "Still good friends" 
after 8 years of matrimony. Ralph Forbes gave 
Ruth a Nevada divorce, August 12, 1932. The 
next day she wed their mutual good friend, George 
Brent, whom she divorced October 4, 1934. Denies 
being engaged to Portuguese millionaire wine ex- 

Mrs. George O'Brien in 1933. They lost their first 
child, born in 1934, now have a second. 

CIANNELLT. EDUARDO— Hadn't been in 
America a week when he fell in love with socialite 
[Continued on page 68] 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

Don't Be Afraid of a Broken 

[Continued from page 32] 

screen rather by the dramatic incidents in 
her own life. 

"But recently many letters have come to 
me from girls my own age who ask me for 
advice on very personal problems. 

"I don't consider myself as having lived 
long enough or learned enough to give ade- 
quate counsel. And so I have usually 
hedged such questions — frankly replied that 
an older person might be more competent to 
advise them." 

Then she turned to me — "If I thought 
something that once happened to me would 
help other girls — " 

And she began telling this untold story, 
without undue emphasis or dramatics. 

She is not a girl given to dissection of 
herself nor intimate revelation. With in- 
herent dignity she shrinks from a public 
parade of her emotions. And so it is a 
difficult task. And yet she realizes that 
there might be profit in it for others. 

THERE was a time," she begins, "when 
my heart was broken. When I thought 
it would never mend. It was long before I 
had thought of a career — long before Max 
Reinhardt's production of Midsummer 
Night's Dream in the Hollywood Bowl 
proved the Open Sesame to a screen career 
for me — that I met the man who was to in- 
fluence my heart so greatly ! 

"He was the personification of charm ! 
He had ease, grace, assurance. People in- 
evitably fell under his spell ! And he had 
the gift of laughter! That appealed to me. 
As it does, I think, to all young girls. They 
put such value on the man who can amuse 

"Then, like a revelation, I was in love ! 

"It had come upon me slowly. At first, 
there was a delightful companionship — 
pleasant, unemotional, friendly. With not 
even a suggestion of that desperation which 
usually precedes love. 

"Suddenly, it was something far deeper. 
My world began to revolve around him. 
This, I said to myself, would last.- It was 
the real thing. The sort of thing for which 
every woman waits. If I had been a bit 
older I would have realized that no woman 
can weigh emotion unless she has a standard 
of past experience and old knowledge. I 
was very young, and very impressionable. 

"The inevitable happened, given the per- 
sonality of the man. My love came in con- 
flict with all the ideals bred into my bone. 
From childhood I had been taught that the 
basis of a man's character was integrity 
and honesty and sense of responsibility. 
This was a nice person and I cared for him 
deeply, but he had none of these qualities. 

"I told him I couldn't see him any more. 
But I did. And for another month my mind 
and my heart were at war. After days of 
indecision, I realized I had no choice. He 
had no place in my life. It was finally 

"This, I believed, was the end of my life 
—the most devastating thing that could pos- 
sibly happen to me. My heart, I was confi- 
dent, was completely shattered. 

"I cried for three months. Until I had 
no more tears in my eyes or in my system. 
I would never love again !" 

_ Olivia smiles in amused memory. "Cu- 
rious how girls at eighteen jump to 
conclusions. How irrevocably they make 
[Continued on page 73] 

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She Doesn't Say Yes, She Doesn't Say No 

[Continued from page 29] 

camping place — not at all a complete Holly- 
wood star's residence. 

But Taylor's house is ready. Complete. 
If — mind you, I say IF very loudly — Bar- 
bara should marry Bob soon — now that he 
has returned from Europe, she could move 
right into that house and not have to 
worry any more about furnishing her own ! 

And, dear reader, of that, make the most. 

AS FOR Barbara, she says : "Skip the 
. romance," whenever anybody asks her 
whether or not she and Bob have any defi- 
nite marriage plans. She doesn't say yes ; 
she doesn't say no. She just doesn't answer 
definitely at all — not even to her most inti- 
mate friends. 

But, like certain other insiders, I wouldn't 
be at all surprised, nozv, if Barbara and Bob 
finally marry — and within a matter of weeks, 
at that. About a year ago, with information 
I had and with a fairly close knowledge of 
Barbara that long antedated her divorce 
from Frank Fay, I wrote a story which 
was published — and by their mere silence, 
tacitly endorsed by Bob and Barbara — 
which said that it would be many months 
before these two marry, if ever. The rea- 
sons? — well, mostly Barbara's tremendous 
"squareness." And, too, her fear of mar- 
riage, following her disastrous experience 
in the Fay romance. 

You see, Barbara has been through life's 
mill. She's been through the Hollywood 
mill, too. She knows that in the first flush 
of a new-discovered friendship or love, par- 
ticularly in Hollywood where all things loom 
out of all proportion, marriage may be a 
hasty step that will ruin happiness and a 
career. It's happened often — and she's seen 
it happen. So, even when Taylor might have 
asked her to marry him, Barbara would 
have said no, through all these last months. 
Out of her love for him, she'd have said no. 
Even though she might have wanted to 
marry him, she'd have said no — lest mar- 
riage ruin that career of his that was sky- 
rocketing him to the heights. Barbara knows 
what early marriage will do to the career 
of an up-and-coming sex-appeal screen hero. 
She didn't want to do that to Bob Taylor, 

But that hurdle is past now, for one. Bob 
has crashed the heights. His position in 
screendom is now secure, as contrasted with 
a year ago. Popularity polls the nation over 
show him running neck and neck for top 
place with Clark Gable, in the male stars' 
division. Bob Taylor is set — beyond the 
point where marriage might ruin his film 

THAT brings Barbara to a second 
hurdle : shall she risk marriage again ? 
I know, as do all of Barbara's friends, how 
deeply burned she was by the smash that 
ended her romance with Frank Fay. I mean 
burned not in the colloquial sense, but lit- 
erally. It burned her heart out — or nearly 
out. Barbara vowed, in those days of tra- 
vail, that never, never, never would she risk 
marriage again. 

And that is the second hurdle that she 
must jump before she'll say yes to Bob 
Taylor. I honestly don't believe she's made 
up her mind, yet. But this time, I think she's 
going to make it up — to that "yes." After all, 
the Bob-Barbara romance has been on for 
months. She and he and Hollywood have 
all learned it's not one of those "quickie" 
things that make Hollywood the love-laugh- 

ing stock of the world, too often. It's some- 
thing that's real, and lasting. If, as is more 
than probable, she said to him in the early 
months of their love : "Wait until you're 
sure, Bob. I want to wait, too, until I'm 
sure !" — if she said that, then surely they've 
waited long enough to know. I'm sure that 
they're sure, now. 

And bear this in mind, too — a long separa- 
tion, such as theirs has been during the 
months Bob was making that picture in 
England, is likely to be the crystallizing 
factor that changes love's indecision and 
uncertainty into definite, positive certainty. 
A separation like that either, as the old 
adage has it, "makes the heart grow fonder," 
or it kills the romance definitely. 

As to that, I think that Bob and Barbara 
are now deeper in love, since their separa- 
tion, than before. I know that he called her 
across the Atlantic and the continent, every 
Sunday morning. The only telephone on 
the Stanwyck ranch is in the stable office 
a half mile from the house. (You see, Bar- 
bara hasn't even gone to the extent of putting 
a telephone in her house!) Breathlessly, 
when the Taylor call came from London, 
Barbara ran that half mile, and they spent 
many minutes — not to mention dollars — 
talking to each other. And the gifts that 
came by mail and telegraph ; the flowers — 
all these things are pretty publicly known. 
No, their romance hasn't been cooled by 
distance ; it's been intensified. 

AND so, don't be surprised — ! 
• As for Barbara, herself, she's happier 
today than she has ever been before in her 
life. That life story of hers is known to any- 
one who's interested in movie folk — a child- 
hood of poverty, a career that saw nothing 
but fight and struggle, a marriage that came 
crashing from rosy heights of infatuation 
into the blackest depths of disillusion and 
disappointment, seven years in which she 
turned her back on her career in a desperate, 
unremitting effort to make that marriage 
stand up — all these things brought Barbara 
pretty steady unhappiness. 

Today, she's thrown herself head-over- 
heels into her career. She started to do that, 
militantly, as an anodyne to the pain in her 
soul after the Fay crash. She turned back 
to her career, and in it, found escape. Some 
men find escape in drink ; others in drugs ; 
others in travel. Barbara found hers in work. 
She could not only act somebody else ; she 
could be somebody else in the roles she 
took — one after the other, as fast as the 
studios clamored for her. 

And then, in the midst of that desperate 
effort to find escape in work, Bob Taylor 
came along, and she fell this time, head over 
heels, into another phase of happiness. She 
was afraid of it, afraid that, like her other 
experience, it couldn't last. But it has lasted 
— and as the weeks have gone by, the cloud 
of pain and fear that has over-hung all of 
Barbara's life, has lifted. 

TO SAY she's happy would be untrue. 
She'll never be an utterly happy person. 
She's too introspective. She's as utterly un- 
Hollywood as any person could be. She's 
not a crowd-seeker. She doesn't go for 
Hollywood parties, Hollywood amusements. 
I've seen her, sitting in a corner at a Holly- 
wood shindig, looking as disconsolate and 
forlorn as anyone ever could. All she wanted 
was to go home, be alone. Most of the time, 
she did. 

Accept No Substitutes ! Always Insist ox the Advertised Brand ! 

Since Bob Taylor has been away, she's 
been out with no man save one — Jerry 
Asher, RKO publicity man and close friend 
of both Barbara and Bob. When he went 
away, Bob gave Jerry a picture, on which 
he scrawled: "I'm entrusting the lady to 
your care !" 

Jerry's been her escort at the luncheons 
she's gone to, at parties at Joan Crawford's 
house, at other quiet social affairs Barbara 
has had to go to during Taylor's absence. 
When, or if, Bob and Barbara marry, it's 
a hundred to one that Jerry will be best 

Barbara's private life is the least sensa- 
tional in all Hollywood. She lives out on 
that ranch. She's tremendously interested 
in the threescore horses there — many of them 
belonging to her and Mrs. Zeppo Marx in 
partnership; the rest belonging to other 
Hollywoodites who've placed them there for 
training by Barbara's stable-master, the 
famous Kentuckian, Harry Hart. Barbara 
and Mrs. Marx are entering their horses in 
the California race meets. It's Barbara's big 
offscreen interest now. And so she rarely 
comes into town, when she's not working 
on a picture. She stays out there, as remote 
from Hollywood's whoop-de-do as though 
she were in the middle of the Sahara desert, 
instead of just over the hills from the 

THE biggest kick she's had in a long 
time was when her stable-master came 
to ask her to grant a few days off to a 
stable-boy who wanted to get married. 

"Let's give him the wedding here," sug- 
gested Barbara. The boy agreed — and hesi- 
tantly asked Barbara if she'd — gulp — er — 
ahem — well, if she'd be bridesmaid. 

Nothing suited Barbara more. She went 
for the idea like a ton of bricks. She had 
the bunkhouse decorated and it was there, 
rather than in the star's home, where the 
guests might have felt ill at ease, that the 
wedding took place. Barbara was brides- 
maid, and she wore the simplest dress 
imaginable, instead of the ermine and silks 
and things some other stars might have. 

A way back I said her work and her 
ranch were her two prime interests, now. 
That is, leaving Bob out of it. But the real 
big thing in her life is still baby Dion — 
the four-year-old lad she and Frank adopted. 
By the divorce terms, she has custody of 
the child. Fay, right now, is fighting in court 
for the right to see him oftener than he has. 
But not even he denies that Barbara is the 
grandest mother in the world to that boy. 
Bob Taylor's crazy about him, too. What's 
more, Dion is pretty keen on Bob. Dion 
wouldn't mind at all if he became "papa." 

. To write about "The Private Life of 
Barbara Stanwyck" would be actually bore- 
some. It's so un-Hollywood. Work, horses, 
quiet living, love for Bob Taylor, love for 
little Dion — and around these, the humdrum, 
day-in-day-out living of a down-to-earth, 
real sort of person who's finding an approach 
to happiness for the first time in a tangled 
life. She's always been hungry for happiness. 
Legendary, almost, are the innumerable 
stories of how she tries to bring happiness 
to others. She can't stand others' suffering. 
She's given away thousands. "She's the big- 
gest sucker in the world for a hard-luck 
tale," say those who know. 

It's not that she's a sucker, though, as the 
saying is. It's rather that so intensive, so 
deep in her make-up is this quest for happi- 
ness, that in giving some of it to others, 
she finds a little for herself. 

She's finding more and more of it, as time 
goes on. Hollywood is glad, for there isn't 
anyone in Hollywood who doesn't feel that 
if anybody rates happiness, it's Barbara. 

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Who's Whose In Hollywood 

[Continued from page 64] 

but definitely 

his pre-movie 
Has a year-old 

Alma Wolfe and wooed her with gestures, not 
knowing the language. They have two boys in 
their early teens. 

COLBERT, C LAUD ETTE— Secretly married 
a long time, Claudette and Norman Foster finally 
took a world-tour-by-freighter honeymoon, then 
tried the separate-house type of matrimony. It 
didn't work. She's now married to Dr. Joel Press- 

(~<OLMAN, RONALD— Because he was a re- 
^ cluse, long thought a bachelor. Instead, was 
long separated from Thelma Raye, English actress, 
who divorced him in 1934. Still a recluse. Denies 
any and all romance rumors. 

CONKLIN, PEGGY— Married to James 
Thompson of the New York "400." 

CONNOLLY, WALTER— Long and happily 
married to actress Nedda Harrigan. They have a 
13-year-old named Anne. 

COOGAN, JACKIE— "The Kid" has grown 
up. A married man since November 20, 1937, 
when Petty Grable said "I do." 

COOPER, GARY— Old-timers remember his 
long, hectic romance with Lupe Velez, which 
ended this side of the altar in 1931. Married 
socialite-actress Veronica Balfe in 1933. Daughter 
born September 15, 1937. 

CORTEZ, RICARDO— First wife, actress 
Alma Rubens, who died tragically in 1930. Mar- 
ried socialite divorcee, Mrs. Christine Lee, January 
8, 1934. Recently rumored apart, more recently 
rumored reconciled. 

COSTELLO, DOLORES— R e c e i v e d final 
decree of divorce from John Barrymore, and cus- 
tody of two children, October 27, 1936. Friends 
predict she will soon marry Dr. John Vruwink. 

COWAN, JEROME— Quietly, 

CRAB BE, LARRY— Married 
sweetheart, Adah Held, in 1933» 

CRAWFORD, JOAN— On January 3, 1929, 
married Douglas Fairbanks, Jr. On May 12, 1933, 
divorced him. Two years later, married the 
world's most persistent suitor, Franchot Tone. 

CROMWELL, RICHARD— Still looking them 

CROSBY; BING— Sang I Surrender Dear to 
Dixie Lee, for keeps, in 1932. Son Gary born 
1933. Twins, Pnilip and Dennis, born 1934. Ex- 
pecting again. 

CUMMINGS, ROBERT— Young, tall, hand- 
some, wealthy, but — already married, to Vivienne 

CURTIS, ALAN— M-G-M's new white hope 
loves Priscilla Lawson more than "romantic rave" 
publicity. He's marrying (just married?) the girl. 

"TV 'ARC Y, ALEXANDER— Young Man-About- 
±J Hollywood, 1938 model. 

Paris" is married to Henri Decoin, French writer- 

DARWELL, JANE— Won't 'fess up to an 
early brief marriage, but is suspected of one. 

DAVIES, MARION— Holds the Hollywood 
bachelor-girl record. 

DAVIS, BETTE— Quietly and successfully 
married to orchestra-leader Harmon O. Nelson, 
Jr., since 1932. Another case of schoolday sweet- 

DAVIS, JOAN— She and Serenus (Si) Wills, 
late of vaudeville, still are partners and have a 
4-year-old, Beverly. 

DEANE, SHIRLEY— Engaged to cameraman 

Russell Bowditch, but a "no-marriage-until-a-cer- 

tain-date" contract clause is delaying the wedding. 

_ DEE. FRANCES— Happily Mrs. Joel McCrea 

since 1933. They have two sons. 

DE HAVILLAND, OLIVIA— Love requires 
leisure. And Olivia is busy; 

DEL RIO, DOLORES— Came to Hollywood 
as the wife of Jaime Del Rio, who later died 
tragically in Paris. In 1931, she married scenic 
designer Cedric Gibbons. 

father, Cecil B., introduced her to Anthony Ouinn 
a year ago. She married him October 2, 1937. 

DENNY, REGINALD— When he isn't acting 
or inventing model airplanes, he's married to 
Isobel Steiffel. Previously wed to Irene Haisman. 

DESTE, LULL— Widow of Baron Gottfried 
Hohenburg, who was killed in a European air 
crash just before she came to the U. S. A. 

DEVINE, ANDY— Eloped to Las Vegas Oc- 
tober 28, 1933, with Dorothy House. Son 
Timothy born November 26, 1934. 

DIETRICH, MARLENE— Just returned from 
yearly reunion with husband Rudolf Sieber, a 
director abroad. Married May 17. 1923. Daugh- 
ter Maria born 1925. Year after year Marlene and 
her escorts baffle the divorce prophets. 

T")TX, RTCHARD — Gave up "perennial bache- 
lor" title for socialite Winifred Coe, October 
20, 1931. Daughter born, January, 1933. 
Divorced, June 29, 1933. One year later, to the 
day, he married his secretary, Virginia Webster. 
They have twin sons. 

DIXON, LEE — Learned to dance to win girl 
he loved, hut before he completed his lessons, she 
eloped with a rival. Claims he hasn't recovered 

DODD, CLAIRE— Newspapers first learned she 
had married J. Milton Strauss, broker, in Mexico 
in 1932 when she invited reporters to her home 
in Tanuary, 1937, to meet her son, Jon Michael, 
born October, 1936. 

DONLEVY, BRIAN— Celebrated his freedom 
from Wife No. 1 by marrying Marjorie Lane, 
actress-singer, December, 1936. 

DOUGLAS, MELVYN— Twice married. Son 
by first marriage, Melvyn, now 11. Son by sec- 
ond, Pierre, now 3. Present wife (since 1931): 
Helen Gahagan. 

DOWNS. JOHNNY— Still intermittently pur- 
suing Eleanore Whitney. 

DRAKE, FRANCES— Popular with the boys, 
but elusive. 

DUNN, JAMES — His first marriage ended, pre- 
Hollywood, in 1925 — in Denver. Recently married 
again. Beautiful Frances Gifford is the bride. 

• DUNNE, IRENE— Married Dr. Francis Grif- 
fin, New York dentist, in 1930, little anticipating 
she would have the world's most famous long- 
distance marriage. Adopted baby, Mary Frances, 
November 1936. 

DURANTE. JIMMY— M a r r i e d to singer 
Jeanne Olson since World War days. Jimmy, the 
kidder, once said, "It don't seem no longer ago 
than the Civil War to me." 

DVORAK, ANN — Met Leslie Fenton in Janu- 
ary 1932, flew to Yuma with him March 17, 1932, 
gave up career for year to go to Europe with 
him. "And would do it again," she says. 

EBSEN, BUDDY — Easygoing, married to en- 
ergetic Ruth Cambridge, Winchell's former 
"Girl Friday." 

EDDY, NELSON— M-G-M still is looking for 
a romance for Nelson. How about the ex- Mrs. 
Sidney Franklin? She's his favorite audience. 

EILERS, SALLY— Unsmilingly divorced Hoot 
C.ibson, August 1933. Smilingly married Director 
Harry Joe Brown, September 1933. Son born, 
August 1934. Still smiling. 

ELLIS, PATRICIA— Of all the suitors rather 
favors Fred Keating. 

ELLISON, JAMES— Eloped to Yuma with 
actress Gertrude Durkin, April 1937. Said: 
"Hollywood will be startled. You see, we knew 
each other only four years, and our marriage is 
very sudden." 

ERIKSON, LEIF— Married to Frances Farmer 
two years now. 

ERWIN, STUART — Persuaded pretty June 
Collyer to give up her career for him. They have 
two children, William and Judith. 

EVANS, MADGE— Still living a quiet life — 
and a single one. 

TpAIRBANKS, DOUGLAS— No. 1 : Beth Sully 
"(mother of Doug, Jr.) — married, 1907 ; 
divorced, 1918. No. 2: Mary Pickford — married, 
March 1920; divorced, January 1935. No. 3: 
Lady Sylvia Ashley — married, March 1936. 

Joan Crawford nearly five years ago. "Engaged" 
to Gertrude Lawrence for a time, but that blew 
up. Currently attentive to Marlene Dietrich. And 

FARMER. FRANCES— It's still love with the 
Leif Eriksons — who discovered each other before 
anyone else did. 

FARRELL, CHARLES— Millions still wonder 
why he and Janet Gaynor didn't marry each other. 
Yet he has been married since 1931 to Virginia 
Valli. Recently derided a new crop of divorce 

FARRELL. GLENDA— Married and divorced, 
early in life and has a son. Tommy, in his teens. 
Claims she won't marry again. But may not mean 
it. With writer Robert Riskin out of picture, has 
been going with Drew Eberson. 

FAYE. ALICE — Honeymooning in Hollywood 

[Continued on page 81] 


Accept No Substitutes! Always Insist on the Advertised Brand! 

That Nasty Man 

[Continued from page 57] 

bles and brush to reach the tableland at the 
top. It had thirty or forty live oak trees 
on it. 

"It took us weeks to learn whether or not 
it was for sale. Owners had to be seen. 
It was part of the Lankershim estate, and 
when I was able to buy four acres of it, I 
bought the plot on the opposite side of the 
road so that we would have an unrestricted 
view forever of Los Angles and San Fer- 
nando Valley. We are going to call it, of 
course, The Oaks." 

It sounds permanent and ancestral and 
thoroughly English. To their friends ("Real 
friendship is as rare as real love," Rathbone 
remarks) it sounds like more of the 
Rathbone parties, famous in the colony for 
their ingeniousness. On their eleventh wed- 
ding anniversary in April 1937, guests were 
invited to come as famous couples. Holly- 
wood's imagination ran riot and the results 
were hilarious. 

"But .we don't give many parties," said 
Rathbone, rejecting the title of Champion 
Party-giver. "Three hundred nights of the 
three hundred and sixty-five we are alone. 
When we do give parties, they are large 
parties, and that must be where our reputa- 
tion starts, although I will say that my 
wife gives a great deal of attention to plans, 
arrangements and entertainment, and all 
her efforts are met with success. I am sure 
that she could go on giving endless parties, 
successful parties, and I wouldn't even be 
missed, although I suppose a husband is 
rather necessary as a sort of — sort of back- 
drop, shall we say ? 

"We seldom give dinner parties because 
it is so hard to find eight or ten people who 
have enough common interests to keep up a 
conversation. Usually one person dominates 
it and the party is ruined, whereas if you give 
a large party with dozens of people the 
chances of everyone having a fine time are 
very great. No one is ignored. No one 

NOVICE party-givers may be glad for 
this expert opinion. Novices in the art 
of matrimony may be more grateful for 
what Mr. Rathbone has to say about success 
rules for this ancient and time-honored 
guild. From the husband's point of view a 
thoroughly domestic wife and a good home 
manager are the essential requirements. In 
his case the talented Ouida Bergere Rathbone 
sacrificed her own fine career as scenarist 
to manage his household. 

"Affection is necessary, too," Rathbone 
said, "and respect for the other person's 
privacy. Many times I walk into my wife's 
sitting-room, see her busy at the desk with 
accounts or letters, greet her, apologize for 
the intrusion, and leave the room. She does 
the same for me. We know that when we 
have finished what we have at hand we can 
join each other." 

Into this idyllic atmosphere has come 
young Rodion Rathbone to make his home. 
His mother is Ethel Marian Forman 
Rathbone whom his father married when he 
was a youth of twenty. This marriage was 
later dissolved. Rathbone pere relishes the 
thought of his son in the house, helping him 
establishhimself in life, not as an actor but 
as a motion picture engineer. It rounds out 
and gives luster to a full life that was never- 
theless not quite complete without parental 
overtones. It's going to be great stuff to 
have a son along when he tramps the dry 

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Temptations I've Faced in Hollywood — Clark Gable 

[Continued from page 24] 

both male and female, when she enthrones 
them among the stars. These are the en- 
ticements with which Hollywood baits her 

Clark, I thought hopefully, has been 
baited by them, Heaven only knows. But I 
needn't have been so hopeful. For he hasn't 
so much as nibbled at the bait. 

The most spectacular thing about Gable 
is, of course, the complete lack of anything 
spectacular. The most significant, the most 
astonishing thing about him is that he has 
not changed one single atom since the day 
he first signed his M-G-M contract and it 
was realized that the greatest star since 
Valentino, perhaps the greatest star in all 
picture history, had come over the skyline 
of the screen. In one short year all of 
Hollywood and the rewards thereof could 
have been under his conquering feet. They 
weren't because Clark has never taken his 
feet far enough off the ground to let any- 
thing, including Hollywood, get under them. 
You can't believe that a man could be sub- 
jected to the assault and battery of fame 
and fortune and flattery and power and 
prestige to which Gable has been subjected 
and still remain, as he has, just plain, down- 
to-earth regular. But he has. 

Robert Taylor once said of him : "If I can 
keep my head as Gable has I'll be okay . . ." 
Tyrone Power said just the other day: "If 
I can keep the square slant on things Gable 
has kept, I'll be saved for posterity !" 

AS WE sat at luncheon in the M-G-M 
. commissary the other day I recalled to 
him the first time I ever interviewed him, 
the first interview he ever gave ... in the 
old M-G-M commissary it was, right after 
he had made Dance, Fools, Dance, with Joan 
Crawford and the impact of the Gable per- 
sonality had set Hollywood to star-quaking. 
It was for Motion Picture Magazine, too, 
that first interview. I reminded him that I 
had asked him how he would feel if, at the 
end of that year, he should find himself in 
the spot once occupied by Valentino, the 
spot where women would tear the clothes 
from his back, swarming about him like 
locusts, demanding, devouring, desirous and 
how he had said to me, his honest eyes meet- 
ing mine, "Why I should think it would be 
sorter repulsive." And he laughed and said, 
the honest eyes unchanged : "That answer 
still goes. I still think it would be sorter 
repulsive . . . but I wouldn't know." 

The years of his fame have mounted, and 
continue to mount and they are not years 
which the locusts have eaten. For he still 
"doesn't know." Women have constituted 
no problem in his life. They just aren't a 
problem, that's all, and even women, little 
busy bees that they are, can't make them- 
selves a problem to a man who would just 
laugh and go his way, not heartless, not 
even heedless, just unheeding. 

He has been married. And after his 
second marriage dissolved he has gone with 
Carole Lombard, the only girl with whom 
the name of Gable has ever been linked. For 
if you will recall, the Gable name has never 
been linked, periodically, with this fair 
charmer and that. The columns have been 
anemically lacking in little squibs about 
Gable "heartying" here and there. Even 
columns have to have a few crumbs to feed 
them. And seldom indeed do you read that 
Clark and Carole have been seen dining or 
dancing, at this party or that. . . . 

NO, GABLE has never, he insists, been 
annoyed by the various perils created 
by the ladies, bless 'em, which have destroyed 
the peace of mind of other screen celebrities. 
Neither fans nor extra girls have been a 
menace to him. It was Fredric March who 
once said to me : "Any temptation women 
may offer to men on the screen does not 
come from the stars you work with, it comes 
from the ranks of the extra girls, bit players, 
non-professionals, girls who think that you 
can do something for them, get them breaks." 

Clark said: "I've never been bothered 
that way, never, nor in any other way." I 
reminded him of the experiences other stars 
have had — the well-bred young woman who 
was a visitor on Bob Montgomery's set one 
day and told him that she was a friend of 
his family's and mentioned names and inci- 
dents which seemed to corroborate her state- 
ment. And how, as they stood in back of 
one of the cameras the better to talk quietly, 
she suddenly screamed and tore at her hair 
and clothing and had to be removed, forci- 
bly, from the set. Common experiences, 
these, the women neurotics, the stars the 
victims of neurotics. 

But save for the one unpleasant case of 
the badly confused (to put it mildly) Mrs. 
Violet Norton, Clark has been free of such 
as these. And he has been free because no 
morbid miasma could live and hold up its 
head in the lusty, gusty presence of Gable. 
The most neurotic, the most fevered fan, 
unless completely deranged, would sense 
that it was no go, that Gable would simply 
shout with healthy laughter at such capers. 
For laughter, hearty and debunking, is the 
most powerful defense a man can employ 
against the whims of a neurotic woman. 

"No," he said, "I've never had any trouble 
. . . I've never had to remove any women 
from my set or home because no one ever 
tried to break into my sets or into my home. 
Occasionally when I was at the hotel girls 
would phone but the girl at the switch- 
board was a canny kid and she just wouldn't 
put the calls through unless she knew the 
party speaking. I never went through the 
lobby of the hotel when I was going in or out. 
I always used the elevator and went right 
down to the basement garage where I kept 
my car and went up the same way, straight 
from the garage. So I avoided any of the 
star-gazers who congregate in public places." 

WE CHECKED off the temptations, 
one by one. I said : "Extravagance ? 
I remember your telling me when we did 
one of our first interviews that you didn't 
want a lot of money, wouldn't know what 
to do with it if you had it, didn't want to 
dwell in marble halls with a swimming- 
pool, private golf course, projection room, 
all the star fixins'. Howsabout it now? 
Hasn't the super luxury standard of living 
of Hollywood got you down ? Haven't you 
been tempted to go a taich haywire and 
splash around with yachts and parties run- 
ning into the thousands for liquor alone and 
steam-heated swimming-pools and retinues 
of servants and gardens that would make 
the vistas of Versailles look like chicken 
runs ?" 

"Nope," said Gable, "I have not. I once 
told you that there is all the ocean to swim 
in, a good enough swimming-pool for any 
man ; that I didn't need a yacht when I 
could ship aboard a lugger any time I felt 
like it, that I hated big parties and was only 
comfortable with a very few people and only 

Accept No Substitutes ! Always Insist on the Advertised Brand ! 

when I know them well. That still holds, 
all of it. But I will say this, if a young man 
just heading for stardom should ask me 
what I consider the most dangerous temp- 
tation Hollywood has to offer I would tell 
him to beware of spending his money reck- 

"Spending money recklessly seems to me 
to be the outstanding temptation Hollywood 
has to offer. It's never been any temptation 
to me but that's no credit to me. It's just 
the way I'm made, a man who'd be more 
worried than pleased with all that fol-de-rol. 
]'oti do what you want to do when you're 
able to do it. I just don't want to do those 
things, or have them that's all. Gosh, the 
way some of the stars live . . . ! The 
palaces they live in, the parties they give . . . 
do you realize that it must take the income 
of five million dollars to maintain many of 
them as they are living now? And there 
won't be any five million dollars for them 
to retire on. 

"No, ma'am, not me. I live now as I've 
lived ever since I came to Hollywood. I live 
on the income of some ten to twelve thousand 
a year. And that's enough and more than 
enough for any man. It's more than enough 
for me. I won't even need that much when 
I am through with pictures. I won't need 
as many clothes, for one thing. 

"XT OPE, luxury is no temptation to me. 
J-^l I don't want to be in a spot where I 
have to borrow money to pay my income 
tax. I don't want anything I can't buy and 
f>ay cash for. I don't want anything I don't 
own, outright. I could buy myself a $75,000 
or $100,000 home if I wanted one. I don't, 
but I could have one IF I wanted to put 

$20,000 down as a deposit and let a bank 
carry the balance. I don't want anything 
on that basis. No mortgages on anything. 
What I have I want to own, or not at all. 
I've leased a small place in the San Fernando 
Valley now, four and a half acres, a plain 
comfortable house. I took the place because 
I got fed up with hotel life and because I 
wanted a place where I could have my two 
horses and look after them. 

"Now, I get a chance to exercise them 
every morning, even when I'm working. 
And I live as simply as possible. I don't 
have a chauffeur, for instance. What do I 
need a chauffeur for ? I know how to drive 
a car. And I like to drive a car and I do 
drive my own car. I don't want a butler. 
What in hell would I be doing with a butler ? 
I don't want a valet, and I don't have one 
except when I'm working in a costume pic- 
ture like Mutiny or Pamcll because then I 
have to have someone to take care of the 
fancy duds for me. I wouldn't know what 
to do with the things. But a valet at home ? 
Not me. I'm able-bodied and healthy and 
over twenty-one. And if I can't dress myself 
and shine my own shoes by this time I'll 
never be able to. I have a cook and a 
housekeeper on the place and that's all I 
need, and more. 

"T HAVE four more years to go on my 
L contract," said Gable then, "and when 
those four years are over / am through 
with pictures. Maybe they'll be through 
with me before that time elapses. I still 
don't believe that a star's popularity is 
very long-lived. But whether or no, it's 
quits for me when my contract comes to 
an end. I'll have enough money then, 

barring accidents, to give me the income 
I need to live on for the rest of my life. 
And that's all I want to have. And if that 
isn't enough for any man it's too bad 
about him." 

"But if you should marry again?" I 
asked . . . and Clark answered, "It's still 

I said: "but you'll never retire, Clark. 
Everyone says they will; no one ever 

"I will," Clark told me, "wait and see. 
What'll I do then? First I'll travel for 
two years, maybe three. I'll see all the 
places I want to see, do all the things I 
never have time to do now. I've just had 
a swell six months vacation and never a 
dull moment. I've only been to the 
studio twice in the whole six months and 
this is one of the two times. I was pretty 
well fagged at first. I'd had a stiff two 
pictures. We worked until our nerves 
were ribbons on Parnell. 

"Then, after that, I went immediately into 
Saratoga and you know what happened on 
that. That just about did knock me flat. 
Jean and I sort of began together, you 
know. We started in together, here at 
M-G-M, worked together in The Secret Six 
with Wally Beery and Lewis Stone as the 
stars and with us as very important minor 
players. We didn't even have our own 
dressing-rooms then. We wondered whether 
we would ever get another job after that 
picture was finished. We made more pic- 
tures together than we made with anyone 
else, I guess. I was awfully fond of Jean. 
She was always a big kid to me, a kid with 
a heart as big as all outdoors, generous and 
swell and real. 


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"I felt her passing more than I've ever 
felt anything . . . so, I needed a rest, a 
change, a break. I didn't go far away I 
wanted to go to China on the Clipper. I 
planned to stay there about three months. 
But before I got going the war got going and 
that was that." (I thought, but it wouldn't 
have been much fun for Carole, to have 
Clark away for three months.) I spoke 
my thought and Clark said, "It would have 
been okay with Carole. She was all for it. 
She was working. And she's not selfish. 
She knew that I wanted to go and so she 
wanted me to go. That's the way she is. 

SO I just stayed around home. I wanted 
to enjoy myself and I can't enjoy my- 
self unless I can find seclusion somewhere, 
be out of the public eye, be allowed to forget 
that I am a 'public character.' I like to be 
with people who make me feel what I know 
I am, no different than they are. And I 
figure that I could get more of this seclu- 
sion within a radius of fifty miles of Holly- 
wood than I could get by dashing off to 
South America or to Egypt or some- 
where. So I tucked in, for part of the 
time, on a huge ranch up in Santa Barbara 

"If I've got any temptation at all it's to 
escape into the wilds and be what is ele- 
gantly known as 'incognito.' Or more than 
that, be where it isn't even necessary to be 
incog because nobody gives a damn who you 
are or where you came from. 

"I'd spend whole days up there just lying 
in the sun. It was never monotonous be- 
cause that's the kind of a life, the only kind 
of a life I like and enjoy. If I felt like 
talking, that was easy. I found new friends 
among the cowhands, desert prospectors, 
hitch-hikers, the little country storekeepers 
who have funds of wisdom bigger and much 
more valuable than their stocks of goods. 
I'd come down to Hollywood week-ends to 
see Carole. When I was down for longer 
stays I'd go to the bike races, the football 
games, the fights. That was enough pleasure 
for me, sister." 

I said, then, "Inflated ego? The Swelled 
Head ? I know that you have escaped this 
malady, everyone knows it, but HOW? 
What anti-toxins have you used? How 
did you gain this immunity?" 

'"HpHE flattery, applause, recognition, fan 
-I letters are for the studio-manufactured 
article labeled Clark Gable instead of Corned 
Beef," laughed Clark, "you know that and 
so do I. When I first came to Hollywood 
and tried to get a break in pictures, even 
extra work, no one would have me. No one 
gave me a secend glance. I'm the same 
now as I was then except that then I had 
the advantage of being several years 
younger. But they couldn't 'see' me — and 
they didn't see me. I remember that. Not 
bitterly. Hell, no. Just with amusement 
that ballyhoo can make all the difference, 
an advertised product draw the eyes of the 
world to an article, or a person, not one eye 
has even glanced at before. As for the 
name in electric lights, that's the letter-head 
on my business stationery, that's all. 

"And up in Eddie Mannix's office here on 
the lot," grinned Clark, "there's a sign which 
GO TO YOUR HEAD! That's the an- 
swer. Commit that to memory and take it 
to heart and your head will fit your hat." 

I said, my voice growing weaker as Clark 
flicked each tasty temptation from his grey 
tweed shoulder as he might have flicked a 
buzzing gadfly, "What about the temptation 
to forget how the 'other half lives ? I mean, 
the little fellows who hold down twenty- 
five-dollar-a-week jobs and glad to have 

them? Aren't you liable to forget the 
'other half?'" 

"Not if you've been the 'other half your- 
self, sister," Clark said, a bit more seriously. 
"I've been the other half, don't forget 
that. I've worked in the well-known oil 
fields, factories, lumber-camps. And for 
less than what Hollywood would call a 
'living wage' and I lived on it all right, 
too. I was on the stage for twelve years 
before I ever came to Hollywood. I had 
to count my pennies to make them stretch 
for room-rent and three squares a day. I 
knew what it was to be 'between jobs.' 
And I still have friends from those days, 
fellows who are still living on the twenty- 
five a week basis. No, I don't forget. 
I'm the same fellow now that I was then. 
And I remember, too, how when I'd have 
successes on the stage I'd be the hail- 
fellow-well-met, with lots of thumps on 
the back and greetings of 'well, ole-man- 
ole-man-ole-man, come and have a drink,' 
and when I'd have flops I'd still be the 
same hail-fellow but not well-met at all. 
They say it's easier to take failure well 
than it is to take success well. Maybe. 
But it's also easier to remember failure 
than it is to remember success. The bite 
goes deeper." 

I SAID, a bit more hopefully, "Wild 
parties? Night life?" 
Clark shook his head. "Nothing doing," 
he said, "you've never seen me anywhere, 
have you ? Nor ever read of me being seen 
anywhere, except at the races. I never go 
to big parties and never give them. I haven't 
been to a night spot for two years. I never 
have any fun, in those places, so why go to 

"But," I said, "Carole must like to go 
places now and then, to see if not to be 

"Nope," said Clark again, "Carole doesn't 
care for that sort of thing anymore than I do. 
We never go to the night spots. I think 
we've been to one night spot twice in the 
past year or so, that's all. We have a few 
good friends and we have dinner at one of 
our houses and play tennis or ping-pong or 
badminton or something. That's the ex- 
tent of our social activities. We go to the 
movies quite a bit, Carole and I. And once 
or twice she's gone duck hunting with me. 
She's a good shot, knows how to handle a 
gun. That about says it all." 

"Jealousy, then," I asked, on a dying 
hope, "competition or the fear of competi- 
tion? Flare-ups of temperament, the temp- 
tation to use your power to make demands ?" 
"Too busy feeding the horses for any of 
that," laughed Clark, "any fighting that has 
to be done I leave to my manager, Phil 
Berg. And there isn't much of that. There 
were some arguments, plenty, I guess, over 
this picture, Test Pilot, that Spence and I 
are making now. But I wouldn't know. I 
only sat in on one conference. I stay away 
from conferences as much and as often as I 
can. As for the jealousy and competition 
angle, no. There's plenty of room for every- 
body and, hell, if someone can get the breaks 
let him get them, he deserves them. When 
a Bob Taylor or a Jimmy Stewart rises on 
this lot it's swell for me ... it means fewer 
pictures for me to make !" 

Well, well, as I was saying, I certainly 
did not pick a winner to give me the low- 
down on Hollywood's hectic temptations ! 
And it's all his own fault, too, that he hasn't 
had any temptations to tell the world about. 
He's the reason he hasn't gone to his own 
head ; he's the reasons temptations have 
slunk away, defeated, their tails between 
their legs. Even a twirpy little temptation 
knows when it is licked. 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

Don't Be Afraid of a Broken Heart 

[Continued from page 65] 

every incident. With what desperation and 
youth they write 'Finis' to life! My heart 
was broken — and it would stay broken ! 

"There would be no mending cement for 

"I think if I had been a little older, and 
a little wiser, some of the pain would have 
been tempered by the certain knowledge that 
nothing ever goes to waste — neither emo- 
tion, nor pain, nor disappointment. That 
everything contributes to our character and 
helps in the maturing process. 

"A woman can't learn if she insulates 
herself. It is more true today than it has 
ever been, that experience is the one great 

"At the moment, when I was baffled and 
perplexed and distressed by that gnawing 
pain which refused to go away for so long, 
I little realized how worthwhile this would 
prove to be later. 

"Shortly after I was signed to my con- 
tract at Warner, I was introduced to a man 
who could easily have influenced my life and 
career — impaired both, I am certain — if I 
had not had the memory of three months of 
tears to guide and caution me. 

"It would have been very easy for me to 
be dazzled by his importance. But now, / 
could be objective. I could measure him 
more casually. I said to myself, wait a 
minute, be cautious ; it's easy to fall in love, 
but awfully hard to get over it. I had a 
standard set by experience, and now it 
served an excellent purpose. 

"Frequently nothing makes a woman so 
sane as a remembered insanity. From the 
vantage point of three years, I realize how 
much that emotional upheaval has modified 
and formulated my attitudes. 

"T HAVE never, for one moment, re- 
A gretted that hurt — after the first three 

"For an actress, an emotional disappoint- 
ment has peculiar and singular value. I 
don't believe that it is important for us to 
live every experience, or to know every 
emotion which we portray on the screen. 

"But the camera is pitiless. It not only 
photographs your face and your figure ; it 
has an X-ray eye which probes into your 
spirit. If there is nothing in your character, 
the camera will ruthlessly reveal it. Not 
every experience is necessary — but experi- 
ence of some sort, is! 

"And so it is my contention that anything 
which contributes to insight, to a sympa- 
thetic understanding of human ways and 
human errors, is a priceless contribution to 
character and to dramatic validity. 

"Personally, I think that the modern 
woman prepares herself better for love and 
marriage than the girl of older times. We 
ask a lot of it, and we are willing to give a 
lot to it. It isn't a matter taken for granted 
- — marriage is no longer the only accepted 
sphere for a woman. And so it has assumed 
a significance which it never has had before. 
At least, that is my impression. 

"I sometimes wonder whether the fun- 
damental reason for the many divorces 
we have today, isn't that we ask much 
more of our emotional relationships than 
women have ever before demanded. We 
are honest with ourselves. We want the 
best and expect it. We want everything 
out of love and marriage, or we will take 
none of it. 

"\\T OMEN are still hurt today, as 

VV they've always been, as they al- 
ways will be. Just because we are more 
independent doesn't imply a change in 
our sensibilities or in our makeup. 

"But this is certain. Women take their 
hurts and make something worthwhile out 
of them. They enrich their lives with the 
lessons learned from them. 

"Nozv of course, I know that what I called 
a broken heart three years ago, was nothing 
of the kind. I was merely going through 
emotional growing pains. It was a temper- 
ing process. I am inclined to think that it 
has made me a better person — more under- 
standing and more human. And I like to 
believe that it has helped me as an actress." 

There will come a time when love in all 
its splendor will come to Olivia de Havilland. 
For she does not isolate herself from real 
emotions — but does analyze them and sepa- 
rate the real from the dross. 

A broken heart isn't a tragedy ! It's good 
for woman and actress alike ! It has been 
a splendid thing for Olivia ! 

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When Answering Advertisements, Plkass Mention March MOTION PICTURE 


Face Value 

[Continued from page 52] 

Whether you go North, or South, or all around the world, a velvety pink lotion 
protects you from weather — whether fair and warmer, or cold with snow in sight 

own voice, she'll begin to notice the voices 
of other people — including women she hears 
speaking on the radio. And she can imitate 
all their little tricks of speaking. We're 
all really a flock of mocking birds — you'd 
be, surprised how well most people mimic 
and copy other people's inflections. And it's 
just as well — for how else would a child 
learn to talk and do all the things he must 
in order to get along in this world of ours ? 
"Of course a pleasant voice isn't all that 
one needs in order to be charming, though 
it's importance can't be stressed too much in 
this day of telephones, radio and public 
speaking for club women. Most of the im- 
pression that a woman makes she makes by 
dint of her looks — her appeal to the eye of 
the beholder. And that's where good 
grooming comes into the picture. That's 
another obsession of mine," and Miss 
Swarthout laughed softly. 

THE lovely singer thinks that two things 
go into making a well-groomed appear- 
ance. Utter cleanliness — and the knowledge 
of one's type. Knowing one's own type is 
pretty much knowing what features to play 
up, and which to tone down. In Miss 
Swarthout's case, the hair, eyes and lips are 
accented, while the rest of her face serves 
as background for them. "I've always liked 
to experiment with my hair," she said, "but 
I'd pretty much decided on a center part 
with roll curls at the side before I went to 
Hollywood. When I first went out there 
they left my hair and make-up alone — but 
the first tests were more or less flops. 

"So then the make-up men and I got to- 
gether. We fluffed out those side curls, and 
thinned out my thick eyebrows from under- 
neath to make my eyes look larger. For 
my first pictures they straightened out my 
pug nose with dark shadows down the length 
of it, and around the nostrils, and covered 
me up with grease paint and powder. 

Miss Swarthout's hair, like her skin, 
surely takes a beating in the good old- 
fashioned way, for she brushes and brushes, 
night and morning, and then goes at it 


again each time she washes her hands, or 
stops at a mirror to powder her nose, renew 
her lipstick or put on a hat. The result is 
certainly worth the work, because there's a 
gleam in her hair that you don't notice in 
that of most brunettes. 

To accent her lips and make them a fitting 
frame for her dramatic voice, Miss 
Swarthout uses a very dark and startling- 
lipstick. She likes one that is fairly in- 
delible, but which has enough creaminess in 
it to keep her lips soft. She makes her lips 
still more striking by using no other color 
except a dark shade of fine powder on her 
tanned — yes, we said California — face. Tan, 
Miss Swarthout thinks, is very becoming to 
most brunettes and grand, too, for the skin 
— provided, of course, that the skin isn't 
allowed to become burned or dried out in 
the process. So the lovely damsels of today 
will do well to smoothe on a sun tan lotion 
to induce tan and prevent burning. 

Charm must appeal to the sense of smell 
as well as that of sight and sound, Miss 
Swarthout believes. The well-groomed 
woman smells clean as well as looks it — and 
to the odor of dainty soaps she will surely 
add a delicate aura of perfume. 

"I love perfumes, and use them as much 
to gratify my own sense of smell as my hus- 
band's," she said. "I like a flower scent in 
the tiny bit of oil I pour into my bath, or in 
the cologne with which I rub myself after 
the shower. 

"The only time I leave off the perfume 
is when I'm wearing a flower with a scent 
of its own. I'm very fond of flowers, but 
prefer a single bloom or a lovely spray to a 
huge corsage. 

If you want to go sophisticated the way 
Miss Swarthout does, with a dark lip- 
stick, I've found the very thing. It con- 
tains just enough of a creamy base to keep 
your lips from chapping, but not so much 
that you'll be eating it off all day long. And 
what's more you'll find that the color will 
stay with you till you use soap and water to 
take it off. Comes in a neat gold metal 
case with fluer-de-lis design and red band 

encircling its middle. An equally nice 
feature of this same line is the powder — their 
first— that they've just brought out. There's 
a very dark one that looks well on girls 
with tanned faces or on dark-skinned bru- 
nettes. Best of all is the way the powder 
and lipstick harmonize. For your con- 
venience, the manufacturer has given the 
powder the same line number as the lipstick 
with which it harmonizes. There's no 
guesswork in choosing either now. The 
lipstick and powder in matching gold metal 
box cost a dollar each, and I'd love to give 
you the name. 

No matter whether you're tanning your- 
self under a tropical sun or skiing down a 
snow-covered mountain slope, you'll find 
a true friend in a pink lotion put out by a 
well-known manufacturer. This creamy 
liquid prevents windburn and sunburn and 
soothes any roughness or chap you may have 
acquired before learning of its existence. 
The flat flask-like bottle is grand for pack- 
ing in that small over-night bag you're tak- 
ing with you on the snow train, and will slip 
equally easily into your beach bag for use 
before and after sun bathing. A six ounce 
bottle costs only a dollar. Write me if you'd 
like to have the name. 

A BOON to all girls whowould have their 
eyes sparkle their brightest is a com- 
paratively new eye lotion. Two drops in the 
corners of the eyes will chase away the dull, 
red look which comes from the glare of 
snowy wastes, of sun-lit beaches, of bright 
lights or even the printed page of the book 
you've been reading all day. These two 
drops will make your eyes clear and white, 
ready to be set off by your mascara and eye 
shadow. This refreshing lotion is entirely 
safe for use in those precious orbs of yours, 
because it has been made up from the form- 
ula of two prominent eye specialists. A 
handy purse-size bottle complete with drop- 
per-stopper costs only twenty cents. And you 
can get an attractive "economy size" in 
blue and white decor for your dressing- 
table or medicine cabinet at 60 cents. The 
name is yours for the asking. 

For a skin that is as soft and delicate as a 
southern belle's — even in the frozen north 
-^use fruit juice. Externally as well as 
internally. A Florida house has a line of 
the grandest liquids — all made from the oils 
of tropical sun-ripened fruits, the avocado, 
papaya, lime and lemon. The avocado oils 
are especially like those found in our own 
skins, so the avocado emollient reacts well 
when smoothed on. The papaya skin toner 
is a natural aid in refining the pores and 
aiding the circulation, and the lemon and 
lime cleansing cream and foundation cream 
are all that could be asked for to complete 
the beauty ritual. Since these creams are 
made from fruits that have lived their lives 
out unde'- the sun, they give you all the 
benefits of that sunshine. Liquid and water 
soluble for quick penetration of the skin, 
they just can't clog the pores. Each of the 
four bottles costs about a dollar — and they're 
worth it. I've tried them and I know ! If 
you're intrigued by them, I'll be glad to send 
you the name. 

Going feminine this season? Want a 
new hair style, some suggestions for mak- 
ing up that will bring out the deadly 
female in you? Then send a snapshot of 
yourself to Denise Caine, c/o MOTION 
PICTURE MAGAZINE, 1501 Broadway, 
New York City. She'll be delighted to 
help you solve your problems. Be sure 
to enclose a stamped envelope with 3c 
U. S. postage for her reply. 

You Don't Need Beauty to be a Star- 

{Continued from page 38] 

"'What are we going to do about your 
hair?" they asked her, when she arrived in 
Hollywood to play the comedy lead opposite 
Bing Crosby in Doctor Rhythm. 

"What are you going to do about my 
hair?" ("I'd heard about these things," she 
explained, "I'd been warned against these 
things, and now it looked as if these things 
were promptly beginning to happen to me"). 

"It's too severe. We're going to test you 
with wigs." 

"Look, test me with Medusa locks if you 
like, or test me baldheaded. On this con- 
dition. Make one single little test with my 
own hair just for auld lang syne. To show 
my grandchildren, when they ask me what 
I didn't do in the movies." 

"Lillie, bewigged, looked ducky but it 
wasn't me. Then they ran off the last test, 
without benefit of wig. When the lights 
went on, my jaw was out and my fists up. 
'That's it,' they said, 'the last one.' I made 
a noise like a gently expiring balloon. 
'D'you mean I don't have to fight for my 
own hair?' 'Fight if you must, but you'll 
wear your own hair and like it.' Yoicks ! 
I love the movies." 

To pin her humor to paper is no easy task. 
You who have seen her do the rake-hell 
grande dame on the stage don't need to be 
told that it lies in imponderables. A swish 
of the skirt, a tilt of the brow, a lift of the 
hand, an impressive if senseless pause here, 
a cockeyed intonation there, and Lillie has 

you on the floor, weak with mirth and moist- 
eyed with adoration. What she does and 
why she does it, she can hardly tell you. One 
day she twiddled her fingers and said 
"Puh-leeze !" like a duchess on a bender, and 
"Puh-leeze, Lady Peel," became the riotous 
catchword of a whole cross-section of the 

"T WAS barely conscious of it till it 
A started bouncing back at me. Then I 
stopped it. A gag's like a good meal. Best 
to quit while the dish still holds its savor. 
I get all my direction from my audience. 
Out there behind the footlights, things come 
to you, you get the feel of the crowd, you 
know how far you can go. If you go too 
far, you can always draw back and pretend 
you meant something else. 

"That's why I was terrified, my first day 
on the set. No audience. Nothing but dead 
silence and the camera. I found myself 
wrestling with that camera for a laugh. The 
darned thing stood and stared at me. I 
knew how important it was, I felt I ought to 
make friends with it, wheedle it or feed it a 
chocolate bar or something. Then I thought, 
no. With all the good will in the world, no 
camera's going to turn you into a glamour 
girl, my love, too late, too late. So pull out 
your own little bag of tricks, and come home 
with your shield on it. 

"In other words, if nature failed to give 
you the kind of face you'd have given your- 

self, go right into comedy. Comedy's so 
much more tolerant than romance. She 
won't moon over you, but she's less likely 
to give you the boot when the frost is on the 
rosebud, Molly dear. You can go on and 
on being a comic, God help you, till you 
dodder into your comical dotage. Not that I 
ever gazed at myself in the mirror and said, 
'Lillie, you're a clown.' Clown? Don't be 
silly. I was a singer. I sang The Messiah 
and all sorts of bee-yoo-tiful songs. The 
other came out on me in spots like the 
measles, when I wasn't looking." 

These spots began coming out early. Miss 
Lillie's mother was a concert singer in 
Toronto, and leader of the church choir. 
The small Beatrice was required to attend 
services twice every Sunday. She never 
thought of rebelling. But one day the min- 
ister suggested to her mother that it might 
be as well to leave the little girl at home. 
Glancing in the little girl's direction, her 
mother caught her in the act of dipping her 
hat over one eye while, with a bored ex- 
pression, she grandly waved a non-existent 
fan to and fro. "I don't think I was doing 
it purposely, what do you think?" murmurs 
Miss Lillie. "Anyhoo. I didn't have to go 
to church any more." 

AT FIFTEEN she crossed the ocean 
. alone to join her mother and sister who 
had preceded her to England, where the 
elder girl was studving to be a concert 

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pianist. Beatrice, for her part, was going to 
sing on the stage. That being settled in her 
own mind, she skipped the formality of seek- 
ing counsel or aid. She went to agents, she 
tried out in auditions, she haunted music halls 
on amateur night. "I warbled tender ballads 
like / Hear You Calling Me. Nobody cared. 
One night I sang Irving Berlin's At The 
Devil's Ball, witli two little horns tucked 
over my temples, very subtle. 

"They gave me what's known in this 
country as the razz, only your razz com- 
pared with the British is as a summer breeze 
to a typhoon. They're artists at it. They 
whistled, they hissed, they stamped and 
clapped in rhythm, they whooped me down. 
Symmetrical features wouldn't have helped 
at that point. They were too far away to be 
impressed with detail. What kept me going 
was bravado. I was crushed, but was I 
mad ! I whipped off my horns and tail, and 
came forth in a frock, girlish and demure." 

Her clear voice conveyed no hint of either 
fear or anger — the faintest touch of scorn, 
perhaps, in the opening words : "For your 
possible approval, I will now sing Irving- 
Berlin's latest song success, When I Lost 

For some reason they liked it. Derision 
turned to friendliness, catcalls to cheers. 
"And I learned my first lesson in handling a 
crowd. But it netted me nothing more 

SHE began to grow a little dispirited. Dis- 
piritedness with her, however, didn't pull 
a long face. It looked around for something 
to cheer it up. She heard of an audition be- 
ing held for Chariot's Revue. "Nuts to 
this," she thought. "We won't get the job, 
anyway, so let's have fun." She combed out 
what she describes as her "dinky little curls" 
and for the first time put her hair up. She 
borrowed a slinky long evening dress. She 
swished out on the platform and announced 
languidly : "I will now give an imitation of 
myself imitating Miss Ethel Levey imitating 
Lady Macbeth. 

"I got the job because I didn't expect to, 
and therefore didn't give a hang. They 
actually engaged me, though Mr. Chariot 
himself wasn't there. Then I had to perform 
for him, and I was petrified. I couldn't re- 
cover the mood tra-la-la. What made it 
worse was that I'd got myself into a little 
number with the skirt up to there." She 
whacked her leg above the knee. "Chic, I 
called it, but mother came in and called it 
rude, yanked it over my protesting head and 
lengthened it down to there. Which started 
me off on the wrong foot, or had we better 
say leg? 

"In any case, Mr. Chariot remained un- 
impressed and with ample cause. Maybe 
that's the time the eyes of a doe or the throat 
of a swan would have helped, who can tell ? 
He might have put me into an animal act. 
However, the contract being signed and 
sealed, there was nothing he could do, poor 
dear, but send me off to the provinces and 
pray. The prayers or something were 
effective because when he finally put me into 
a London show, I proved, to the general 
amazement, a hit. It was wartime, there 
were no young men about, so they togged 
me out in boys' clothes. I was practically 
Marlene Dietrich, just the face was 

SHE sang I Wanna Go Back to the Farm, 
and retired to her dressing-room, 
whence she was dragged a few moments 
later by an agitated manager who shoved 
her out on the stage again because the 
audience refused to listen to the next num- 
ber. They wanted Lillie. They still wanted 
her after her second withdrawal. When she 

came out the third time, a moustache 
adorned her upper lip. The house rocked. 
It was a big night. She felt particularly 
pleased with herself over the inspired touch 
of the moustache. That was all her own, 
Mr. Chariot would love her for that. She 
felt a gentle glow at the prospect of his 
approval. Till, passing the callboard, her 
eyes were drawn to a newly tacked notice 
which read: "Miss Lillie fined five shillings 
for trying to be funny." 

Which kept her subdued more or less till 
the last night of the show — always a high- 
spirited occasion in a London theatre, when 
the bars are let down and almost anything 
goes. "I decided I'd be in every number. 
Just how I arrived at that decision I couldn't 
tell you. It was less a decision than a com- 
pulsion. Must have been these spots I men- 
tioned a while ago. Having been forced 
under for so long, they now popped out and 
refused to take no for an answer. Anyway, 
it was the last night. So what could I 

SO SHE wove herself in and out of the 
evening. Coming from nowhere, she 
startled the leading man with a bright tap 
on the shoulder. "Pardon me, but you're 
wanted on the gramophone." She shadowed 
the heavy, aping his gait and style and, on 
being discovered, simpered : "I don't love 
anyone but my daddy." The final ensemble 
was a song number called Have You Seen 
the Ducks Go By, Quack, Quack ? A row of 
pretty girls paraded behind a fence and at 
each quack, quack, stuck their heads 
through. Their number was abruptly in- 
creased by a swaggering duck in a cowboy's 
ten-gallon hat, its face as it peered through 
the slats a blend of wonder and impudence, 
its quack wandering from high C to low A 
and taking in all the points between. The 
number had always stirred admiration, never 
the wild applause it won that night. 

To her dressing-room, jammed with con- 
gratulatory friends, came a boy. "Mr. Char- 
lot wants to see you, please, Miss Lillie." 

"Into each little life some rain must drip," 
she murmured. "Goodby, all. I've had such 
a nice time. Yet never let it be said that 
a Lillie flinched before the guillotine." 

"So you think you're funny," said 

She felt tentatively of her throat. "Not 
at the moment." 

"Well, I do. So you're going to be a low 
comic in the next show." 

Thus did Bea Lillie enter into her heritage, 
to the joy and profit of those on both sides 
of the footlights. The record of her triumphs 
would read monotonously. In New York 
she is cherished as dearly as in London. 
During the American run of the first Chariot 
Revue, George Kaufman, looking like a man 
hit by a comet, used to stalk Broadway, ac- 
costing all comers. "Have you seen, the 
Chariot Revue? No? Well, it's com- 

Never once has her star shown any sign 
of waning. Happily married to Sir Robert 
Peel, her marriage interrupted her career 
only when their son was born, the son who 
is now a sixteen-year-old at Harrow, and 
ranking baronet since his father died. 

The years, which wither surface beauty, 
have brought her gift of laughter to richer 
flower. Now Hollywood has her. To 
people who ask whether she likes the movies, 
she says : "I'll tell you when the picture's 
released." To people who ask whether the 
movies will like her, I say : "If they don't, 
it's their loss. She can go on and on in the 
theatre till she dodders into her worshiped 
dotage. The movies can comb the four 
corners of the earth without finding her 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

Glorify Your Canned Vegetables! 

[Continued from page 54] 

The canner has taken more pains than you 
may realize to pick, pack and process field- 
fresh vegetables for your convenience, 
economy and variety. He sends a perfect 
food packet to your kitchen table. What do 
yon do to bring it to your dining table? 

All canned vegetables are packed with 
some moisture or liquor. Do you throw this 
away, down the sink, or do you wisely save 
if for broth or soups, or use it as sauce for 
the vegetable itself? This liquid in the 
canned vegetable pack contains valuable 
health minerals and vitamins — your sink 
doesn't need them, but your children do ! 
For example, don't throw away the juice 
from a can of beets, but combine with cream 
into a plate of deliciously flavored soup. Or, 
drop a bouillon cube into the liquor from a 
can of asparagus and you have another in- 
vigorating cup of broth. Or, keep the liquor, 
add salt, pepper and a dash of Worcester- 
shire sauce and lo, you have a pepful health 

MY SECOND point : use canned vege- 
tables just as you would fresh, in com- 
bination with other ingredients and with 
many cooking methods. When fresh vege- 
tables are in season you doubtless boil some, 
but also bake or pan-fry others. These 
methods add flavor, interest and variety to 
the vegetable itself. Thus carrots in a cream 
sauce, or pan-sauted with butter (the French 
call this Carrots Vichy ) , or tomatoes cooked 
with minced onion and celery and pepper 

are something you may commonly prepare 
from fresh garden truck vegetables. So why 
not give the same treatment to your canned 
vegetables ? Need a can of tomatoes, for 
example, always taste the same old way? 
Not at all, as the following recipe clearly 
reveals : 


tablespoons butter 
tablespoon minced onion 
tablespoon minced celery 
No. 3 can tomatoes 
tablespoons flour 

y 2 teaspoon curry powder 

Ya teaspoon salt 
Paprika, pepper 

Y cup cream 

6 small toast rounds 

Yz cup grated cheese 

Melt butter, add onion and celery, 
and cook 3 minutes. Add tomatoes and 
heat. Blend flour, curry, salt and 
pepper, and add. Cook until mixture 
thickens slightly. Add cream. Pour 
mixture into oblong or wide greased 
glass casserole. Cover with toast 
rounds, toasted side up. Sprinkle with 
cheese. Brown in hot oven. (Or may 
be served immediately instead on hot 
buttered toast slices.) (Serves 6.) 

CORN is another familiar canned vege- 
table, but how often is it used in only a 
warmed over fashion, straight from the can ? 
There are moreover many types of canned 
corn: the whole ear corn, so natural in 
flavor as to almost delude one into believing 
it to be freshly picked ; whole kernels or 
niblets ; and cream style corn in which the 
creamy contents are also scraped from the 
cob. The whole kernel corn is most ex- 
cellent as a filling for baked peppers or to- 
matoes, etc., while the creamy style is 
suitable for the many delectable corn pud- 
dings so loved by the whole family. Peppers 
are in season most of the year and make an 
economical family dish. Try this one some 
night this week : 


6 large sweet green peppers 

1 can (2 cups) corn 
Yt cup thin white sauce 

4 tablespoons tomato catsup 

2 tablespoons sugar 

2 teaspoons onion juice 

Cracker meal 
Grated cheese 

Cut tops off peppers and remove 
seeds and membranes. Put peppers and 
top slices in water, and boil 5 minutes. 
Mince cooked tops and add to corn, to- 
gether with white sauce, catsup, sugar 

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/V\ax factor * TTolluwood 




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For ready relief from the suffocat- 
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The standby of thousands for over 
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cigarette or pipe mixture form. 
For tree sample write Dept. B. 


(Ol Anstltl California 

and onion juice, and mix thoroughly. 
Pack into drained pepper cases. Dot 
tops with butter, sprinkle with cracker 
meal and grated cheese. Bake until 
brown on top, hot oven (425°F). 
(Serves 6.) 

TO MANY, canned asparagus is a de 
luxe vegetable and one to be used ex- 
clusively as a cold salad. But a can of 
asparagus tips may be extended by an in- 
teresting cheese sauce and breadcrumbs, 
baked a few moments until the crumbs 
brown, and in this composite form offer a 
hot delicious entree dish, quite sufficient for 
any meal if flanked by a salad and a sub- 
stantial dessert. Another tempting sug- 
gestion makes a whole custard or souffle type 
dish from eggs and asparagus, and this 
recipe is included in the free leaflet we trust 
you will send for. 

On a busy day, one seldom has time for 
prolonged cooking, but still "one must eat." 
So why not take advantage of canned vege- 
tables to admirably and promptly fill the 
bill, as in this commonsense pick-up lunch : 


tablespoons butter 
tablespoons flour 
teaspoon dry mustard 
Salt, pepper 
cups rich milk 
can string beans 
cup boiled potatoes, diced 
large slices thin boiled ham 
Minced parsley 

Melt butter, add flour, blend and add 
seasonings together with milk. Stir 
constantly until smooth and creamy, 
cooking 3 minutes. Add drained beans 
and diced potatoes, and heat. Arrange 
ham slices (cold or pan fried) in center 
of individual plates. Heap creamed 
mixture on ham. Sprinkle with par- 
sley, and serve immediately. (Serves 4.) 

IN ADDITION to these familiar staple 
vegetables, how many of us ever note and 
try some of the other less usual canned 
varieties ? Sauerkraut, of course, is well 
known to many households who find in its 
pre-cooked hearty cabbage dish the basis of 
many filling sausage and frankfurter 
specialties. But Brussels sprouts, little 
brothers to cabbage, are less well known and 
used. Heated in their own liquor, with 
butter added, a douse of cream and a sprinkle 
of curry, these become ideal accompaniments 
to steak or other light broiled meats. 

Southern vegetables like okra, loved by 
the Creole, are seen but a short span in 
northern markets, but in canned form they 
are available the year round. Try putting 
together some time a can of tomatoes and a 
can of okra — your family should appreciate 
it. Artichokes are a bit "fancy" but a can 
goes a long way when they are used in 
salads, or hot and buttered with cheese 
sprinkle, au gratin. 

Much has been done lately with lima 
beans, butter beans, and that Indian mixup 
known as "succotash." These are good 
straight from the can, but still better when 
swathed in a thin cream gravy dotted over 
with minced pimiento ; or quick-baked with 
a half dozen strips of bacon reclining on 
top. For an easy no-cook starch accompani- 
ment to the informal meal, there is nothing 
better. And speaking of beans (and of 
course don't forget that "Boston Knows 
Best") the red kidney bean packs are getting 
better and more tasty every year. If you 
haven't been ordering some of these different 
beans, the near future's the time to start! 
In the set of free special recipes there's an 

unusual corn biscuit and an interesting pie 
containing canned corned beef and tomatoes, 
which you mustn't miss. 

SOME distinguished foreigner said (it is 
whispered) that the national emblem of 
America is WHITE SAUCE! Certainly this 
so common sauce is often served where it does 
not belong and where it could be made to 
better standards. But on many canned vege- 
tables it is still the best and most popular 
sauce. So for the benefit of some who do 
not know their sauces, here are a few jot- 
tings on the subject: 

White Sauce (for Vegetables) 
2 tablespoons butter 
2 tablespoons flour 
1 cup milk 
Y\ teaspoon salt 

Grains pepper or paprika 
Melt butter in sauce pan, add flour 
and stir until well blended. Pour on 
milk gradually, stirring constantly. 
Bring to scald and cook, over hot water, 
5 minutes. 

King Sauce 

To White Sauce add : 

1 tablespoon minced green pepper 
1 tablespoon minced pimiento 
- 1 hard egg, chopped 
4 stuffed olives, chopped 

Egg Sauce 

To White Sauce add : 

4 hard eggs, cut in % inch slices 

Onion Sauce 

To White Sauce add : 

1 Bermuda onion, minced fine, cooked 
with butter 3 minutes 

Lemon Butter Sauce 

1 tablespoon lemon juice 
J4 cup butter 
Cream butter and slowly add lemon j 

Once you start this good idea of giving 
the canned vegetable a square deal (and 
yourself too, of course) you will be able to 
say, quoting the poem, "If Winter comes, 
can Spring be far behind?" Canned vege- 
tables will aid you bridge the gap between 



Let Me Send You the 8 

Canned Vegetable Recipes, including 
Corn Biscuits with Cheese Sauce, Busy- 
Day Cottage Pie and Asparagus Pud- 

Just paste this coupon on a post card, 
and send it to Christine Frederick, c/o 
MOTION PICTURE, 1501 Broadway, 
New York City. 

(This offer expires March 31, 1938) 


Street Address 

Town and State 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

Even His Best Friends Don't Know Him 

[Continued from page 27] 

man had gone by, the phony smile vanished 
instantly. It was just one of an actor's 
prop smiles, you see. 

Well, since that visit, I've been asking' 
questions, and learning things. I've found 
that Bill is so changed that his most in- 
timate friends — Warner Baxter and Ronnie 
Colman — are worried about him. I've learned 
that Bill had so little heart for returning 
to work that the beginning of this picture 
had to be postponed for days, until he could 
catch the mood. I've learned, from his own 
lips, that he has changed his whole attitude 
toward Hollywood and its works. I've 
found that there is a new Bill Powell today. 

When I was assigned this story, the editor 
wrote me, "It's a cinch that Powell won't 
go along now as he has in the past — rooted 
so long to Hollywood soil and Hollywood- 
isms — without making a change to new 
scenes and ideas, etc. He rates a story — a 
story on The New Bill Powell." The editor 
was right. And here's the story. 

MOST of you know, thanks to the amaz- 
ing machinery of news and publicity 
that uncovers everything in Hollywood, that 
the first thing Bill Powell did when he 
came back to Hollywood was to go straight 
from the train to the crypt where rest the 
remains of Jean Harlow. For the greater 
part of an hour, Bill stayed there. The 
columnists, news-chatterers and radio-gos- 
sipers made the most of the item — and then 

went on to other Hollywood personalitattle- 

And so most of you don't know the story 
and the developments that followed that 
sensational train-to-crypt move of Bill 
Powell's. You don't know that Bill, now 
suddenly stricken anew by grief as he again 
moved in the scenes where he and Jean 
Harlow had lived and loved and laughed, 
suddenly became a problem to his studio 
and his friends . . . 

It's not so hard to understand what may 
have led, for instance, to Bill's day-after- 
day refusal to turn up at the studio to be- 
gin shooting on this picture. You see, with 
that bitterly cruel disregard Hollywood can 
show for real emotion while it sells synthetic 
emotion, the original working title of the 
picture in which Powell was to co-star with 
20th-Fox's European importation Anna- 
bella, was Jean! And the name of the girl 
with whom, in the script, he fell in love, was 
Jean . . . ! Imagine what must have gone on 
in Powell's heart as he tried to study and 
learn lines of love to speak to an utter 
stranger on whom that name had been hung 
for box-office value — the while he mourned 
at the crypt of the real Jean he still loved ? 

No wonder they couldn't find Bill when 
they wanted him to come to work. No 
wonder they couldn't contact him when in- 
terviewers and others sought him on busi- 
ness. Day after day, they postponed, the 
starting date of the picture. Day after day. 

the}' were advised that Powell wasn't ready 
yet. So worried they were, finally, that 
unbeknownst to Hollywood, they were 
readying Warner Baxter to play the role. 
Meantime, Baxter, himself, and Colman — ■ 
the two closest friends Powell has in Holly- 
wood — were worrying about Bill, too. Not, 
like the studio, for business reasons, but 
out of love for their friend. "He just can't 
seem to pull himself back to work," one of 
them told a studio official, discussing Bill. 
"He doesn't seem to have the heart for it." 

BY NOW, the shock of the titling of the 
picture and the naming of the girl in it 
had penetrated even Hollywood's skin. 
Orders went out that the title Jean be 
stricken out, and the picture re-named The 
Baroness and the Butler. The name of the 
girl was changed from Jean to Josephine, 
or something like that, for the time being. 
Orders went out, too, that no one was to 
speak to Powell, in publicity interviews, 
about Jean Harlow. As a matter of fact, 
these orders were superfluous. Those who 
knew and liked Bill Powell would never 
have mentioned Jean. Those who didn't 
know any better soon learned, from Bill's 
response to mention of her name, that they'd 
gone much further than making a mere error 
in judgment. Bill's fists clenched, his jaw 
tightened, his stare became icy, he turned 
and walked away. 

[Continued on page 88] 



Many report gains of 5 to 15 pounds after 
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NO longer need thousands of girls 
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For, with these amazing new Iron- 
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It sounds almost unbelievable. Yet 
listen to what Miss Anne Johnston, 
who is just one of many users, swears 
to before a Notary Public : 

"Under the strain of working in 
several pictures in Hollywood, I be- 
came terribly rundown. I lost weight, 
my skin looked terrible, I suffered 
with headaches and my nerves were 
simply on edge. Of course I knew I 
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Anne Johnston, Jackson Heights, Nl. Y. 
Sworn to before me 
Donald M. McCready, Notary Public 

Why they build up so quick 

Scientists have discovered that hosts 
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IVfake this mOIiey-back test Miss Anne Johnston swears before Notary Public McCready 

To make it easy for you to try Ironized Yeast, 
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Special offer! 

To start thousands building up their health right away, we make this special 
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WA RNING : Beware of the many cheap substitutes. 
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When Answering Advertisements, Please Mention March MOTION PICTURE 





'WTHYlet prematurely gray hair make you look far 
* * older than your years? Now, with a better rem- 
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can get rid of this social and business handicap. 

Simply get from your druggist one-fourth ounce 
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your druggist will mix it for you. This colorless 
liquid will impart a natural-like color to faded, gray 
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If you want to look ten years younger in ten days 
start with Barbo today. 


Without Calomel — And You'll Jump Out 
of Bed in the Morning Rarin' to Go 

The liver should pour out two pounds of liquid 
bile into your bowels daily. If this bile is not flowing 
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A mere bowel movement doesn't get at the cause. 
It takes those good, old Carter's Little Liver Pills 
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book entitled "The Interesting Story of What 
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else. © 1938, c. p. INC. 

-New Perfume!- 

SUBTLE, alluring, enticing. Sells regu- 
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A single drop lasts a week! It is: — 


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Free Trial Bottle 

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Send Big Free Book with facts on Coyne training and tell 
me about your "Pay-Tuition-After-Graduation" Plan. 



"I Ran Away with My Husband" Bette Davis 

[Continued from page 21] 

she has had made at home and sent over to 
the studio, and says, "Well — before 1 let 
some other woman run away with my hus- 
band, I'd try running away with him, 

And, with that, you discover that you've 
started something. The girl has strong ideas 
on the subject. She forgets her salad com- 
pletely as she expands on this business of 
running away with your own husband. 

"Why not?" she demands, leaning toward 
you challengingly. "If more wives did run 
away with their husbands, and more hus- 
bands ran away with their wives, they 
wouldn't even think of getting divorces — 
so that they could run away with somebody 

"I read some statistics on divorce the other 
day that floored me. Do you know how 
many marriages end in divorce today ? One 
out of every six. Not in Hollywood. In 
the entire United States. 

"People are too ready, nowadays, to give 
up their marriages at the drop of a brusque 
word. If it looks for two days running as if 
they aren't 'getting along,' they put in a 
hurry call for lawyers. They think they are 
being terribly modern and frank, 'admitting 
their mistake.' Actually, half the time, 
they're being only shallow and selfish ; all 
they're admitting is that they don't know 
what love is. That is terribly applicable, 
here, in Hollywood. People go into mar- 
riage with the idea that if any arguments 
come up — 'well, it's easy enough to get a 

"So many people — girls, particularly — go 
into marriage with the idea that life is going 
to change completely as soon as they say 'I 
do.' They are going to live happily ever 
after, because people love them and have 
promised to dedicate their lives to making 
them happy. Life is going to be all roses 
and no thorns. All sweetness and light, no 
sour notes or clouds." 

BETTE grimaces her opinion of that 
particular mental approach to marriage. 

"I can think of middle-aged couples in my 
home-town who still are married after 
twenty-five or thirty years — because they 
started out in an age when divorce wasn't 
countenanced. They had their difficulties 
and misunderstandings, too. But they had 
to find ways to overcome them ; they had 
to make sacrifices to each other ; they had to 
make marriage work. And they are happier 
now because of it. Happier, certainly, than 
countless divorced people I know. 
• "Look at some of these so-called mar- 
riages today. They're over in five weeks, or 
three months, or a year or two. You wonder 
why these people ever bother to get married 
in the first place. They obviously aren't 
looking for partners or aren't prepared to be 
partners. All they want is perpetual play- 

"Not that I think anyone should approach 
marriage with the attitude of a martyr, all 
set to sacrifice one's self on the altar of the 
other's happiness. I emphatically don't 
think that. I think anyone is entitled to as 
much individuality after marriage as before. 
But I do think this : Anybody should be 
willing to give love as much of a chance 
after marriage as before. 

"And that brings me right back to the 
importance of running away with your 
husband . . . 

"I know a young couple, both grand 
people, who had been married about two 

years and weren't getting along too well. 
They were 'getting on each other's nerves.' 
They were having petty little quarrels over 
nothing at all. To avoid quarrels, they were 
beginning to avoid each other. They were 
spending more and more time apart. The 
wife was even beginning to become inter- 
ested in another man. 

"But this girl is one of those fundament- 
ally decent people who can't be happy if 
they're going to hurt others in the process. 
She's sensitive, intelligent, honest with her- 
self. One night, lying awake, thinking about 
all this, she asked herself : 'Am I in love 
with this other man, or not? I thought I 
was in love when I married. I was sure I 
was, or I wouldn't have married. But 
what's happened to our love? What have 
we lost that we once had? Could we re- 
capture it, if we tried? . . .' 

"She didn't say anything to her husband 
the next morning, about her thoughts of the 
night before. But she did say to him, 'How 
about our going away on a little trip some- 
where? Let's get a change of scene, have 
ourselves a vacation. We haven't had a 
real trip since our honeymoon.' 

"The idea appealed to him. They set out. 
They didn't know, one day, where they'd be 
the next. They were gone about two weeks. 
They had a grand time. They came back 
happier than they had ever been. And their 
happiness is lasting. They keep on going 
on sudden little trips together. And those 
trips are helping it to last. 

"They had the time on that trip, you see, 
to rediscover each other. Time to reminisce 
about when they had first known each other, 
their emotions then, the thoughts they had 
had, the things they had done. They kept 
seeing new things, kept having new things 
to talk about, new experiences to share. 
They recaptured some of that carefree ir- 
responsibility they had had when they were 
first going together. His business worries, 
and her household cares, were suddenly un- 

"In short, they fell in love all over again. 
She hasn't looked at another man since. He 
hasn't looked at another girl. 

OF COURSE, that's going to an ex- 
treme — running away with your hus- 
band so that you won't run away with some 
other man. But the idea of running away 
with your husband, or your wife, just for 
the sake of having carefree fun together 
again, has possibilities for any marriage. 
Even the happiest. 

"We all are apt to take each other for 
granted after a while. Too, we get tangled 
up in the details of everyday life. Silly little 
things weigh us down. If a wife has a job, 
she brings it home with her, just as her 
husband brings his home. It's practically 
impossible, if you're conscientious about 
your work, to forget it when the day is 
over. And if you're a housewife, you're so 
busy most of the time, doing housework, 
that you get all messed up in that. We attach 
more importance to our separate day-to-day 
worries than we should. We all need oc- 
casional escapes. 

"Some people 'escape' by going out every 
night in the week. But that's just as bad as 
never going out at all, which is terrible. 
There's such a thing as going out so much 
that you forget that it might be possible to 
have a good time at home, just the two of 
you, reading or talking or listening to good 
[Continued on page 86] 


Accept No Substitutes! Always Insist on the Advertised Brand! 

Who's Whose In Hollywood 

[Continued from page 68] 


since September 4, 19.17, when she finally said 
"Yes" to patient, persistent Tony Martin. 

FAZENDA, LOUISE— Married ten years last 
Thanksgiving to producer Hal Wallis. Son born 
April, 1933. 

FIELD, VIRGINIA— The newest "most-dated 
girl in Hollywood." 

FIELDS, W. C. — Unhappily married once, and 
only once. Under pressure, he has also admitted 
to a grown son. 

FLYNN, ERROL— Despite their battles— or, 
perhaps, because of them — Errol and Lili Damita 
' still like matrimony, after two years. Gossipers 
have them calling it "quits" every other day. 

FONDA, HENRY— Married Margaret Sullavan 
when both were unknown. Divorced in 1933. 
During trip abroad, Summer 1936, met and married 
Frances Brokaw, pretty socialite widow. Child 
born December 1937. 

FONTAINE. JOAN— At 20, intent on career, 
discouraging willing suitors. 

FORAN, DICK— Married Ruth Piper Hollings- 
worth, socialite divorcee, secretly in Mexico June 
6, 1937. Now blessed-eventing. 

FORBES, RALPH — After 3-week courtship, 
eloped to Yuma with Heather Angel, August 
29, 1934. Previously wed to Ruth Chatterton — ■ 
for eight years. 

FOSTER. PRESTON— Married for years to 
schoolday sweetheart, Gertrude Warren. 

FRANCIS. KAY— No. 1: Dwight Francis 
(div.). No. 2: William Gaston (div.). No. 3 
Kenneth MacKenna (div. 1934.). The leading 
candidate for No. 4 (if they aren't already secretly 
married) is writer Delmar Daves. 

FURNESS, BETTY— Stepped to the altar with 
Johnny Green, orchestra leader, November 26, 1937. 
Her first trip, his second. 

QAAL, FRANCISKA— In 1934 became 
VJ Budapest bride of Dr. Francis Dajkovich. 
is in Hollywood with her. 

GABLE, CLARK— He learned about acting 
from his first wife. Josephine Dillon, now, Holly- 
wood's best-known dramatic coach. Soon after 
breaks came his way, married Ria Langham, 
wealthy divorcee with two children. They separated 
in 1935, are not yet divorced. When free, ex- 
pected to marry Carole Lombard. 

GARBO, GRETA— Once started to elope with 
John Gilbert, but changed her mind on the way. 
Has denied all romance rumors since, including 
the newest (Stokowski) one. 

GARGAN, WILLIAM— Married since his 
Brooklyn days to Mary Kenny. 

GAYNOR, JANET — Disappointed millions of 
moviegoers by not marrying Charles Farrell. On 
September 11, 1929, married Lydell Peck, San 
Francisco lawyer, instead. Divorced. April 7, 1933. 
Now the constant companion of Tyrone Power — 
and it looks serious. 

GEORGE, GLADYS— Ex-husbands: Ben Erway 
and Edward Fowler. Present husband: Leonard 
Penn, who has given up factory management for 
acting, to be with her. 

GLEASON, JAMES— Married to the same 
woman — Lucille Webster — since August 1906. It's 
a Hollywood record. They have one son, Russell. 

GLEASON, RUSSELL— Engaged to Cynthia 
Howard, society girl, November, 1937. 

GODDARD, PAULETTE— Divorced from E- 
J. Goddard, wealthy lumberman, in 1932. Re- 
ported secretly married to Charlie Chaplin for 
past three years. 

GRABLE, BETTY— See Jackie Coogan. 

GRAHAME, MARGOT— Before Hollywood 
married Francis Lister. English actor. Have seen 
each other seldom since, but are not divorced — yet. 

GRANT, CARY— Strenuously a bachelor since 
his 1935 divorce from Virginia Cherrill (they 
were wed a year). Now serious again — about 
Phyllis Brooks. 

GRAVET, FERNAND— Has a pretty wife- 
Jean Renouai-dt, French actress. 

GURIE, SIGRID— So beautiful, but oh, so 
retiring. Romance rumors haven't touched her 
yet. Denies any pre-Hollywood marriage. 

UALEY, JACK— Even his vaudeville partner, 
* - 1 Florence McFadden, liked his sense of humor. 
She married him. They have two children. 

HALL, JON— Playing the field till he gets 

HAMILTON, NEIL— Once took full-page ad in 
Hollywood paper to deny divorce rumors about 
self and Elsa Whitmer. Married about 15 years, 
and a father. 

HARDING, ANN— M a rrie d actor Harry 
Bannister in 1926. Daughter Jane born in 1929. 
Divorced May, 1932, because of unhappiness over 
public calling Bannister "Mr. Ann Harding." 
Married Werner Janssen. world-famous orchestra 
conductor, in London, January 17, 1937. Has 
been "Mrs. Janssen" since. 

HARDY, OLIVER— Tentatively divorced by 
Myrtle Lee, 1933. He divorced her May, 1937, 
following one near-divorce, one reconciliation and 
a separate maintenance suit. 

HAYWARD, LOUIS— Still courting Ida 
Lupino, as he has been for two years. 

HENIE. SONJA — Those romance rumors (with 
Tyrone Power, Cesar Romero, James Stewart, 
et a!) have been just publicity. There's somebody 
in Norway. His name is Carl Carlson, insiders say. 

HEPBURN. KATHARINE— Long denied hav- 
ing a husband. Then divorced Ludlow Smith of 
New York "400," May 8, 1934. Since then has 
looked at only one man twice — ace aviator Howard 
Hughes. A romance is suspected. 

HERBERT, HUGH— He woo-wooed and won 
Rose Epstein, 'way back in 1916. 

HERSHOLT, JEAN— Nearly 25 years ago, in 
Montreal, married Via Anderson. Like his great 
friend, Dr. Dafoe, has a grown son named Allan. 

HERVEY, IRENE— Her first husband's name 
was Fenderson. Had a daughter, Gail, legally 
adopted by her second husband, Allan Jones. They 
were married July 26, 1936. Nursery first occupied 
December, 1937. 

HILLIARD, HARRIET— Married briefly and 
unhappily, very young. Happy since late 1935, 
when she married Ozzie Nelson, orchestra leader, 
on eve of movie contract. After first picture, 
gave up career for year to have a baby. 

HOLDEN, GLORIA— Married H. C. Winston, 
theatrical man, in 1932. Divorced, late 1937. 

HOLM, ELEANOR— Became Mrs. Arthur 
Jarrett in 1933. Surprised him November 11, 1937, 
by announcing she and Billy Rose (husband of 
Fanny Brice) would marry as soon as both 
achieved divorces. Jarret sued Iter for divorce 
month later. 

HOLT, TACK— Divorced from Margaret Wood 
in 1933. Father of Tim Holt. 

HOMOLKA. OSCAR— When starring in Berlin, 
married German stage star. Greta Mosheim. Clash 
of temperaments soon drove them to divorce. 

HOPKINS. MIRIAM— First married to Bran- 
don Peters. Then to writer Austin Parker, whose 
divorce was one of Hollywood's friendliest. 
Adopted baby, Michael, May 4, 1932. Eloped to 
Yuma with Director Anatole Litvak, September 4, 
1937. They plan to live in separate houses on 
same estate. 

ennial bachelor. 

HOVICK, LOUISE— Twice married to Robert 
Mizzy, manufacturer, Summer 1937 — first in water 
taxi, then on land. Honeymooned in trailer. 

HOWARD. JOHN— Still eligible. Current 
interest: newcomer Kay Griffith. 

HOWARD, LESLIE— During a World War 
leave married Ruth Evelyn Martin. They have a 
son Ronald, a daughter Leslie. 

HUDSON, ROCHELLE— Still collecting pro- 

HULL, WARREN— First revealed publicly, late 
in 1936, that he had not only a wife, but three 
sons. And his fan mail promptly tripled. 

HUME, BENITA — Married briefly, some years 
ago, to one Eric Siepman. Often rumored romantic 
since. Popular with Ronald Colman. 

HUNT, MARSHA— It's a romance between 
Marsha and Jerry Hopper, film cutter. 

HUNTER. IAN— Married Casha Pringle, Eng- 
lish actress, in 1932. Children; Jolyon George 
and Robin Fan. 

HUSTON, WALTER— Twice married and 
divorced before marriage to actress Nan Sunder- 
land in November, 1931. Has a writer-son, Jtfhn. 

name now is Mrs. James Townsend. In her early 
stage days it was Mrs. Robert Bell. 

Next month's installment picks up 
those stars whose surnames begin with 
the letter "I" — and concludes with the 
letter "Z." You'll be surprised over what 
these romantic and marital statistics re- 
veal. So don't fail to get next month's 
copy of MOTION PICTURE— and 
learn the complete lowdown. 


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In Their Parents' Footsteps 

[Continued from page 31] 

and Constance Bennett, \v i t li Bonita 
Granville. Me is 1°, 6 feet two inches tall, 
with curly brown hair and almond-shaped 
blue eyes, lie read Tim's message and 
smiled. "Culver was a tough place all 
right, but it was swell!" he said. "They 
give you some real arm training there. I'm 
a 2nd lieutenant in the reserve." 

Me told us he shares an office with two 
other fellows and lives on his salary. 

As for Bonita Granville. We'll never for- 
get her amazing performance in These 
Three. We thought a girl would naturally 
have some vicious streak in her to play a 
role like that so realistically. But instead 
she captivates everyone with her smile, 
graciousness and intelligence. 

She wore slacks and a light blue sweater, 
black shoes and short white socks, and had 
a pink kerchief at her throat. She has 
golden brown hair, and a sensitive, eager 
personality shines through her blue eyes. 
She is five feet tall and weighs 93 lbs. 

"I came out to California when I was 
seven years old," she said. "My clad was in 
pictures at the time." Bernard Granville, 
musical comedy star, of Ziegfeld Follies 
and Winter Garden fame, who died about a 
year ago. "I first played in a short, in 1931, 
called Hollywood Kids. Then I was Ann 
Harding's daughter in The Life of Vergie 
Winters. I had small parts in several pic- 
tures before These Three. Silver Dollar, 
Cavalcade, Ah, Wilderness. My biggest 
part up to now is in Warner's Girl on Pro- 
bation, where I also played in Call if a Day. 
I am now under contract to Hal Roach. I 
like my part in Merrily We Live very much. 
It's one of those crazy family pictures. I'm 
not really mean this time. Just fresh and a 
H -tie spoiled. I don't want to be typed as a 
brat. People would think I couldn't do 
anything else. So many of them think I'm 
mean in real life, too. I get some awful let- 
ters. One man sent me a Bible and asked 
me to read a chapter a day for the salvation 
of my soul. Can you imagine that ?" 

C HE grew up in a theatrical environment. 
CJ "I wanted to be a great actress ever 
since I was that high. I took a bow with 
my father when I was three years old. The 
theatre is the only thing I know. Lots of 
people say I have inherited my father's 
talent. That must be it." She smiled. 

"Do you feel you have missed anything 
other children naturally enjoy?" we asked 

"Many people have asked me that. I can't 
of course do everything other girls do, but I 
don't think I have missed anything. I don't 
associate with picture people. I'm always 
with my mother. I don't go out very much. 
People always recognize you, and you some- 
times run into crazy people. I go to parties, 
though, when I'm not working. I've been to 
a few very nice dances. But when I'm work- 
ing, I'm dead tired in the evenings, and all I 
can do is to eat my dinner and go to bed." 

At 14, Bonita is a high-school senior, and 
her teacher told us she is an outstanding 
student. Most movie children, she said, try 
to get by, but not Bonita. She is particularly 
good in languages — English, French and 
Spanish, and intends to do college work 
while working in the studios. Her hobby is 
designing" clothes. "I design some of the 
clothes in my pictures," Bonita informed us. 
"I hope when I get a little older I'll design 
a lot more," She usually wears sweaters, 
slacks or skirts, but she has tailored clothes 

and a fur coat, and can dress very smartly 
when the occasion demands. 

At this moment her mother came in, the 
former Rosina Timponi, a specialty dancer 
in musical comedies before her marriage. 
Bonita must have taken after her English 
father, for her mother is of French-Italian 
descent and is black-haired. Mrs. Granville 
is a nice, quiet woman, devoid of all 
theatricality. Bonita is an only child, and, 
as she explained, her name means "beautiful" 
in Spanish. 

"But 1 don't think she is beautiful," the 
mother said, looking at her fondly. "She is 
a good little girl, though." But take our 
word for it, Bonita is a decidedly attractive 
girl. The screen doesn't show her fine color- 
ing. Of course, the mother is very proud 
of her talented daughter, and volunteered 
the information that acting comes naturally 
to her, that she reads her lines twice, and 
then knows them by heart. 

-/ daughter of two famous screen stars. 
She is making her bow as a young cine- 
mactress in M-G-M's Benefits Forgot, with 
Walter Huston and Beulah Bondi. She 
came to the press department of the studio 
with her mother and brown dachshund for 
her first magazine interview. Leatrice Joy 
is still an extremely beautiful woman and to 
all appearances, happy. She is now the wife 
of a Los Angeles business man. 

Here is another young girl who impressed 
us by her charm and mental brilliance. She 
wore black shoes, and short white socks, 
like Bonita, a reddish skirt and a gray coat, 
with a white scarf at her neck. Her slim 
legs are brown, and she is dark like her 
mother and father. There is the same rest- 
less fire in her eyes that characterized the 
late great lover of the screen. 

She is James Stewart's boyhood sweet- 
heart in Benefits Forgot and said it was "a 
lot of fun." 

"She has been acting all her life." her 
mother said. "She has always enjoyed being 
someone else. I have always been proud of 
the acting profession, it has some of the 
grandest people in the world, and have en- 
couraged her to the best of my ability." 

"I wanted to be an actress ever since I 
saw my mammy in" The Blue Danube," 
young Miss Gilbert said. 

She is in the 8th grade, at the fashionable 
Berkeley Hall in Beverly Hills. She likes 
roller-skating, swimming, horesback-riding, 
and tennis. But she has serious literary 
ambitions, and her real hobby is collecting 
rare books and first editions. "When you 
are an only child," she explained, "you don't 
have much company. I love books. I 
haven't got many. . . ." 

SHE believes her name helped her get into 
pictures. Clarence Brown, Bob Leonard, 
Johnny Arnold and the gang at M-G-M who 
knew her father, all gave her a helping 
hand. Another staunch worker on her be- 
half has been Rod LaRocque. "But now 
that I am in," she said smiling, "I must get 
along on my own." At this writing, she is 
being seriously considered for a nice part in 
National J'clvct. 

She is devoted to her mother. "They say 
actresses don't make good mothers," she said, 
while her mother smiled. "But I have the 
most wonderful mother in the world. She 
is definitely a duck. Oh, that's quite a pet 


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name, it's a compliment!" She kissed her. 

We hesitated to mention her father, with 
whom once we flourished plumed hats be- 
fore Garbo in Queen Christina, but she spoke 
about him freely. 

"I loved my daddy so," she mused. "One 
day, when I was eight years old, I wrote 
some fan letters to motion picture people I 
admired. I wrote one to Norma Shearer, 
and I decided to send a letter to my daddy, 
too. I wrote on the envelope, 'Very im- 
portant and personal.' He wrote back right 
away, and on the envelope were the words, 
'Very important and personal.' He said in 
his letter that he had always hoped I would 
want to see him. We corresponded from 
then on, and one day I went to visit him. 
He gave me a teddy bear and a beautiful 
collie, which died. 

"Once I went to see him on Christmas 
day," she continued. "And I coaxed him to 
drive home with me. He didn't want to, but 
finally consented. When we got home, I 
said, 'Daddy, won't you come in and see 
our Christmas tree?' But he refused to 
go inside. I insisted. 'Young lady,' he said, 
'you are arguing with a Gilbert.' I said, 'So 
are you!' So he went in with me. I was 
very proud of him. He was a great actor." 

SO COMING to Mickey Rooney, we can 
truly say he is a born actor — and all boy. 
He came running into the studio commissary 
in corduroys and a blue work shirt open at 
the collar. 

At 15 — he is 16 today — Mickey won the 
junior tennis championship of California, 
and is also the California state ping pong- 
champion. His energies and driving power 
would arouse Mussolini's envy. He has or- 
ganized a snappy dance band and is its baton 
swisher. "We're going to play at the Vista 
del Arroyo Hotel in Pasadena," he told us 
eagerly. "There are ten pieces in the band. 
I play the piano. I joined a union. The 
others are real musicians, 22-23 year old 
fellows. One has played with Benny Good- 

Nor is this all. He writes sizzling songs, 
and has them warbled over the radio by 
celebrated torchists. "I've written a new 
song, Thai's What Love Can Do For Von," 
he said, "and Alice Faye is going to sing it 
on the air. It goes like this — " He began 
to hum it, meanwhile drumming the table 
with his fingers. "It's really swell. I wrote 
it here on the lot, with Sidney Miller. We 
wrote it in 20 minutes." Along with these 
various activities, Mickey has finished four 
pictures during the last three months — Live, 
Love and Learn, Thoroughbreds Don't Cry 
— which is his favorite — You Are Only 
Young Once, and Love is a LJcadache. 

He ordered a lumberjack's meal and three 
pieces of raw garlic. The modernistic Metro 
commissary, crowded with the world's high- 
est paid personalities, was filled with garlic 
perfume, wafted from Mickey's busy mouth. 
We agreed that garlic is good for the health, 
but declined the piece he offered us. 

"I've been in the show business all my 
life," he continued. "My father, Joe Yule, 
is a comedian. He is still playing in a Los 
Angeles theatre. My mother used to be a 
chorus girl. My real name is Joe Yule, Jr. 
I was born in Brooklyn. I've had no child- 
hood. In my spare moments I've tried to 
make the most of what I've missed. When 
I was young I couldn't swim*. They were 
afraid I'd get drowned. I couldn't do this, 
I couldn't do that. I had to help myself, no- 
body helped me. My mother has made a 
lot of sacrifices for me, and I think I can 
sacrifice a little of my youth working, to 
give her some of the things she has missed. 
I'm not the kind of a feller that grabs his 
mother and kisses her. I'm not emotional. 
But I don't think there is a kid in the world 

who likes his mother more than I do." He 
thought for a moment, studying a piece of 
garlic in his hand. "I've always had in mind 
a saying by a great artist, Fanny Brice. 
One day she told me, here on the lot : 'Al- 
ways be bigger than your job, and never 
lose your head. Remember, that there is 
always somebody twice as good as you 

MICKEY is investing his savings in a 
trust fund and annuities. "When I 
become 21 I can have at least $500 a month 
for the rest of my life. I don't throw my 
money around, but we aren't cramped, we 
eat. We have two cars." He lives with his 
mother and step-father in Beverly Hills. Of 
his own father, he said : "He is the only 
man who can make me laugh. If he was 
given a chance in pictures, he would be one 
of the cleverest comedians on the screen 
today. But he is one of those old-timers 
who thinks he has no chance in pictures, and 
is satisfied to do what he has been doing all 
his life." 

Mickey has been out with Judy Garland 
once or twice, but he insisted his friendship 
with her is purely platonic. "It's pitiful the 
way they try to link us in a romance," he 
protested. "It gets me in dutch with my 
GAL." She is Barbara Dugan, a student 
at the Pasadena Junior College, a blue-eyed 
brunette. He hopes to marry her some day. 
"I met her at the Santa Anita race track 
when I broke my leg," he confided. "She 
dropped a program, I stooped and picked it 
up, and when I gave it to her, our eyes 
met, and bang ! it was love at first sight. 
She recognized me, but she didn't let that 
bother her. I asked her if she would like 
to visit the studio, and that's how I had my 
first date with her. Sine has no acting am- 
bitions, she's just a swell girl." 

Mickey wants to be a director. "I don't 
think I'm the type to develop into a mature 
actor," he explained. "If I've lasted so long- 
as a kid player, it's because of my height. 
I haven't been through that gangly age 
when you grow up all of a sudden. I'm al- 
ready 16, but I'm only five-feet-three-inches 
tall, and I don't think I'll grow any taller. 
All my folks are short. You've got to have 
height to be a leading man. Maybe I can 
play character parts, I don't know." 



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Clark Gable's Film Find 

[Continued from page 37] 

the next day. On the following morning 
when I reached the set, an assistant to sotne- 
body-or-other came up to me cautiously and 
whispered, 'Keep your eye on Gable. He's 
up to something. He talked to Conway 
about you all day yesterday.' 

"And when I looked around, I saw those 
two in earnest conversation over at one side 
of the set. They looked at me frequently 
out of the corners of their eyes. Really, I 
felt sick. But when I went over past them 
shortly, they both had a cordial good-morn- 
ing for me and I felt better. When I finished 
the scene, I thought I was all through. I 
should have sensed even then that Clark 
Gable had been doing me, a stranger, a great 
favor. But I didn't, and I was surprised 
when Conway told me to stick around. 

"I did, and things happened." 

TO SAY that "things happened" is to 
make a serious understatement of facts. 
Within a few minutes Conway walked over 
to O'Keefe and asked him why he was doing 
bit roles. 

"Because I can't get anything better, of 
course," O'Keefe told him. Conway seemed 
to be of the opinion that our young actor was 
capable of better things — an opinion which 
had been emphatically pointed out to him by 
Gable himself. 

Came the noon hour, and Bud Flanagan 
— for that was still his name up to this 
point — had the wits scared out of him. Con- 
way disappeared for a few minutes and then 
returned and took the blond young actor in 
tow. A moment later he found himself in 
the presence of nine Important Executives 
on the lot. 

"This is the young fellow I told you 
about, gentlemen," he said, and he pro- 
ceeded to pilot Dennis among them, intro- 
ducing him to each. Dennis was petrified ! 

The next day, after four long years of 
striving to get somewhere in Hollywood, 
Metro offered him a contract. And then 
the most amazing thing happened. That 
same afternoon he got a call from Columbia 
studio, where Harry Colin, the president, 
had noticed him in a small bit and suggested 
the company sign him up. He was still 
dizzy from this development when his agent 
notified him that Paramount wanted to make 
a test with the idea of giving him a long- 
term contract. This was too much. Dennis 
went back to Metro and signed with the 
studio that had offered him the first 

A contract in Hollywood is something, 
but not always a good deal. It can make 
you a member of the studio stock company 
for years, but you may also remain unknown 
for years. Dennis O'Keefe, with the name 
now made official, did not feel at all certain 
it would ever reach the bright lights. 

IN THE ensuing weeks he did several bits, 
and then received some vigorous training 
in the stock company school. Then one day 
he was summoned to the casting office to 
read a script of Bad Man of Brimstone which 
was about to go into production. He picked 
up the manuscript that night but found no 
enlightening instructions to go with it. He 
took it home and read the whole thing 
through. When he had finished with it, he 
was still puzzled about the whole thing. 

At the studio next day he told an official 
his sentiments. 

"There's not a doggone role in there I 
fit — except the lead itself," he said hesitantly. 


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And then lie darned near died when he was 
told he would make a test within the week 
for the coveted role in a million dollar out- 
door epic ! If he got the part, he would be 
second only to Wallace Beery among the 
men in the picture. 

He made the test almost immediately. 
As soon as it was completed, he was as- 
sailed with doubts. He kept telling himself 
this was too good a break to be true. No 
use getting cocky or expectant. Be ready 
for a fall. 

The morning after the test Dennis went 
to the studio commissary for breakfast. 
Seated across from him was a total stranger 
reading a newspaper, and they didn't even 
bother to say good morning. He found him- 
self wondering with suppressed excitement 
if he were destined to get that juvenile lead 
in Bad Man, or whether he would be tossed 
into "B" pictures. A few minutes later Bill 
Grady, the M-G-M talent scout, walked up 
to him casually and said, "Just forget that 
appointment this afternoon. You'll be too 
busy to see me, and I guess I won't be need- 
ing you. I suppose you heard they gave you 
the lead in Bad Man." 

Dennis put down his newspaper and said 
quietly, "Look, Bill, this is important. Let's 
have no jokes now." 

Grady answered in obvious seriousness, 
"No joking, kid. You got the big break." 
And he walked away. 

Dennis sat there in a half trance. His 
appetite had disappeared. The stranger 
across the table leaned across toward him 
and remarked, "Look, fellow, I don't know 
you and it's none of my business. But I 
couldn't help overhearing. Don't eat those 
eggs — they'll only give you indigestion." 

THIS is a pretty good point in the story 
to tell you about the early life of Dennis 
O'Keefe. His father was Edward Flanagan, 
of the famous vaudeville team of Flanagan 
and Edwards. (Neely Edwards was the 
other half.) His father and mother could 
not always travel together, although they 
tried to make their vaudeville dates coin- 
cide. All their plans were suddenly dis- 
rupted when they found one time they were 
going to have an heir. 

Charlotte Ravenscroft — that was his 
mother's professional name — suddenly found 
a need for a place called home. So she gave 
up her career as a singing violinist and went 
to her mother's place in Fort Madison, 
Iowa. That's where Bud Flanagan was 
born. When he was four years old, his 
grandmother died, and they moved to Long- 
Island where they lived for several years. 

After the close of the World War, Dennis 
came west with his father and mother. Papa 
Flanagan had a contract to do the Hall- 
Room boys comedies, with his partner. 
It was their introduction to filmland. Later, 
Bud went to Hollywood High School for a 
couple of years. There was something just 
a little sad about that experience. 

"An unfortunate circumstance terminated 
my career at Hollywood High a little before 
it should," he said with a reminiscent smile. 
"They had a rule up there we all had to eat 
at the school commissary. Having been 
raised in a vaudeville family, I had learned 
to enjoy variety, and it was fun to get away 
from the campus, too. So I formed the 
habit of sneaking out and going up to a 
restaurant on Hollywood Boulevard. 
' "One day a professor, who had no more 
right to be there than I, saw me in the 
cafe. He reported me to the principal, and it 
wasn't my first rap. I was occasionally 
cited for busting boys in the snoot. This, 
for some strange reason known only to them, 
was just too awful. I was invited to termi- 
nate my connection with the school. So I 

finished up at L. A. Coaching School, a 
private institution for children of pro- 
fessional people, and then went to U. S. C. 
prep school. 

"My father died suddenly at this time. 
Shortly before his death, Bob McGowan, an 
official at Hal Roach's studio, dined at our 
house one night and asked dad for story 
ideas. My father told him that he was 
barren of them at the moment, but to ask the 
kid. As a result, I wrote a script for an 
Our Gang comedy and it was accepted. 

"I got a job as a gag man out there. It 
lasted for a year. Finally 1 was told that I 
had such a swell-head it would no longer go 
through the door to my office. And since 
economy was being practiced, I got fired. 
It was cheaper than widening the door, I 
guess. That was Lesson Number One for 
me in the business of life. 

"Dad had a swell act called A Lesson In 
Golf. I renovated the act and went out for 
a series of one nighters on the Service 
Station circuit. We played everything, 
finally hitting the Keith circuit back east. 
But we were a little late. Vaudeville had 
seen its day and was definitely on the de- 
cline. We got back in Los Angeles in time 
for a Triumphant Return to the Orpheum 

«nY THIS time mother had had just 

-D about enough of the show business. 
She convinced me I should get out of it. So I 
donned a pair of overalls, got a job at a 
wholesale plumbing supply house, and spent 
two years wrestling valves, bowls and you 
know what. 

"A friend of mine eventually got me a 
small bit at RKO one day, and I took a 
powder on the plumbing business. After that 
I worked along Poverty Row where they 
made films on a shoestring. Why, one pic- 
ture had me hired at $50 a week as the 
villain, assistant cameraman, location auto 
driver, story writer, and prop man all in 
one ! It has been that sort of thing ever 
since — up to now, except for one spell when 
I tried to write scenarios. And I sold some, 

"You're holding out on us," we told him. 
"What about this screen story stuff?" 

"Well, there's one interesting thing about 
that," he replied. "But first, let me ex- 
plain something. When M-G-M cast me 
in Bad Man, they swore I was the only guy 
in town who would fit the part. I knew 
different, but I wasn't chump enough to say 
so. A swell fellow named W T ayne Morris 
over at Warners could have done it equally 

"What's that got to do with screen 
stories ?" we asked, realizing there was a 
faint type resemblance between these two. 

"There's a real close connection," Dennis 
replied, grabbing at a roll, now on his third 
cup of coffee. "You see, I sold a story to 
Warners called Don't Pull Your Punches. 
It was a prize fight yarn, and I saw myself 
in the lead. (I never admitted it, of course.) 
Well,- Wayne got the part, and the picture 
was made as a "B" production. When the 
big boys saw the finished product, they de- 
cided Morris was a great find, and the film 
was shelved. He immediately did Kid 
Galahad, and I guess you know he made a 
smash hit." 

Dennis is right — that's an interesting in- 
cident, because his own present success is 
moving along the same general path. 

Yep, when Clark Gable found Dennis 
O'Keefe, he did the boy a great favor, and 
the studio, too. So when you see the pic- 
ture, and know what a promising fellow 
O'Keefe is proving to be, remember Gable — 
and Director Conway — as the talent scouts 
who brought Dennis to you. 

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"I Ran Away with My Husband" 
Bette Davis 

[Continued from page 80] 

music or rolling up the living-room rug and 
dancing. If you're so restless that you have 
to go out every night, or have somebody in, 
you aren't a very resourceful twosome. And 
you'll end up by being as bored as if you 
never went out. 

"But occasional little vacations, alone to- 
gether, are a different kind of escape. They 
can cure almost all the little maladjustments 
of marriage. Those terribly unimportant, 
over-important, little maladjustments. 

"TP YOU thought you were in love when 

JL you married, there must have been some 
basis for your belief. Why not give yourself 
a few chances to remember that ? Why not 
go off somewhere, once in a while, and re- 
capture some of the old spell that brought 
you together in the first place? 

"You get in some completely new place. 
You look upon some magnificent scenery to- 
gether, and those little disagreements you 
may have been having fade right out of 
sight. You explore, you discover new 
worlds together — just as when you first met. 
You discover that you can still have fun 
together. You relax. 

"On trips, too, you meet new people 
together. You aren't leading separate lives. 
Meeting new people, you talk on all sorts 
of new subjects — together. It does you both 
good, peps you up no end, to be reassured 
that you're interesting to other people, per- 
fect strangers. Interesting not only as in- 
dividuals, but as a couple. 

"I don't think these trips should ever be 
planned, or that you should pick definite 
places to go — especially resorts. You're 
letting yourself in for possible disappoint- 
ments then. They should be spontaneous, a 
bit of an adventure. Half the fun of going 
away together is not knowing what you'll be 
doing, what you'll be seeing. Everything 
will be new to both of you. And if you 
haven't made any plans to go to some special 
place, nobody knows where you are. And 
the psychology of that can work wonders. 

"You can feel that you are two alone. As 
you did on your honeymoon. 

"T KNOW that Ham and I are constantly 
J- hopping in a car on a Saturday, flipping 
a coin to see which direction we'll head in, 
driving a hundred or two hundred miles, 
staying overnight wherever we happen to 
land, playing golf the next morning, then 
heading home. And invariably we come 
back refreshed, with new viewpoints. We're 
both sold on the idea of running away 

"We were more sold than ever, after our 
trip to England last year. It was the first 
trip abroad for either of us. We landed in 
England on our fifth wedding anniversary. 
After days of rain, suddenly here was a 
bright sunshiny day. We were in an in- 
triguing new place together, sharing new 
experiences even after five years. . . . There's 
no doubt about it : A trip gives you a bond. 
You may have good times together pretty 
much all of the time — but being off by your- 
selves, inseparably together, is different. It 
does things to you, and for you. 

"If," she says, as she rises, "I ever thought 
my marriage was heading toward the rocks, 
I hope I'd remember what I've just said — ■ 
and run away with my husband first. In 
fact," she says, confidently, "I know I 

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Rough-Ridin' Romeos 

[Continued from page 43] 

with Tom Tyler between pictures. Jack 
Hoxie has an outfit of his own, nothing 
elaborate, just a cozy little rodeo. 

Ken Maynard, pristine in snowy Stetson, 
his picture emblazoned on the cigar bands 
encircling his "heaters," swaggers mincingly 
on high-heeled cowboy boots as a Cole 
Brothers-Clyde Beatty show star. And that 
unhappy warrior, William S. Hart, sulks in 
his Cinema City tepee pondering happier 
days and man's ingratitude. 

Yet, they're not gone entirely, the old 
familiar mugs. Harry Carey's in there mak- 
ing movie villains bite the dust. Bill Boyd, 
slightly silvery of hair, is doing right nicely, 
thank you, as Hopalong Cassidy. Buck Jones 
is still putting up a rootin' tootin' two-gun 
fight — and has a top spot in Westerns, even 
though he deviates from simon-pure hoss- 
opery now and then. Jack Holt is a menacin' 
man for all cattle rustlers and other evil 
doers, and George O'Brien dons chaps and 
gauntlets to gallop again into the arms of 
the gal for a happy ending. 

But there are a lot of new fangled kids on 
cowboy screens. This Autry, now. A red- 
headed, blue-eyed Texan, he whiled away 
lonely ranch-house nights by singing like a 
coyote when the moon is full. And presently 
a battered old guitar fell into his hands. That 
was sheer Fate. For instead of growing up 
to be a dogie chaser he took an easier way 
and wound up on- radio as "Oklahoma's 
Yodeling Cowboy." That he was a Texan 
made no never mind to the radio announcers. 
From there, Gene and the guitar and 
"Champ," his boss, went West — and 
Western — for Republic Pictures. 

Put Tex Ritter in with Autry as a case 
history. Tex was a cowhand at the Uni- 
versity of Texas, so to speak. And he, too, 
combined the ability to ride a pinto pony with 
a voice that vocalized attractively. Tex, 
too, faced footlights, hit the airwaves and 
ended on the screen as a star of "Musical 
Westerns." Musical Westerns ! Wonder 
what Art Acord would have said to that ! 
There's been a change in the pattern of 
equestrian screen saga. 

But it's always been true that screen cow- 
boys are where you find 'em. For one Tom 
Mix, who rode and ranged from the Border 
to Ponca City and the 101 Ranch, there are 
a dozen who stem from the Badlands of 
Broadway or other pavements, just as Bill 
Hart, himself, tried theatric boards before 
he knew tumbleweed from a tarantula. Only 
recently, though, have the ride-'em-cowboys 
been recruited from college classrooms. As, 
for example, Dick Foran. 

Redheaded Richard had been chasing cow- 
hide, but in the form of a Princeton football 
rather than on the hoof. Then Warners 
saw him — and that was that. He began his 
cinematic career as a movie rah-rah. Then, 
all of a sudden, they needed a lad for a 
Western. Dick wasn't busy so they put a 
gun in his hand and sat him on a horse. 
He's been there ever since — and loves it. 
To the surprise of everyone, including 
Foran, he was an immediate click — and a 
big one. His fan mail pyramided, and he 
made more money for Warners and for him- 
self than he'd have accumulated in years of 
movie football playing. In his guise of 
singing cowboy he'll quite probably outlast 
Bob Taylor. 

Jimmy Ellison, who is Bill Boyd's buddy 
in the Hop Along Cassidy series, pranced 
into Hollywood trail -herding a bunch of 
polo ponies for the effete Poland-to-polo- 

in-one-generation aristocrats. Before he 
could say "chukker" he found himself a 
juvenile hero in the Mulford yarns, which, 
believe it or not, now go in for whimsy. So 
far as James is concerned it's nuts to the 
last round-up in those Montana hills. 

Tom Keene is another puncher whose 
life began in college. He was making passes 
for Carnegie Tech instead of roping steers 
on a ranch, and from that went on to a 
theatrical career. He was Abie in Abie's 
Irish Rose, and then he went to Hollywood 
as hero of a DeMille epic, The Godless Girl. 
In those days he was George Duryea. He 
didn't have too great good fortune, so like a 
smart kid he pulled himself together, changed 
his name and his technique and hiked for the 
horses. He's been going strong ever since. 
But now and then, when he has time out, 
he lights out for a season of summer stock 
at Skowhegan or some place. Still likes the 

THREE newcomers to the ranks of the 
rough-ridin' Romeos are Jack Randall, 
Monogram's singing star, Smith Ballew, 
who rides into the open spaces for 20th 
Century-Fox, and James Craig, who toted 
a college football in the Texas country be- 
fore he toted a gun. Randall has a voice 
teacher who expects him to make all the 
cows, listenin' in, contented when the stars 
hang low over the ranch-house. Craig won 
a Paramount contract after adopting a talent 
scout's suggestion of studying acting for two 
years in a Houston, Texas, Little Theatre. 
He makes his hoss-opery debut in Arizona 
Ames. Ballew is a tall, rangy hombre who 
was lassoed from his own orchestra to swing 
a lariat instead- of a baton. Before they ride 
into a last round-up they callate as how 
they'll brand their names in blazing letters 
on theatre marquees as prominently as Jones 
and Gibson. The Bucker and the Hooter 
have been shoutin' Yip-e-e a long time. 

Many a smoothie of the silver screen has 
"dumb" down from the middle of a horse to 
become a hero of more sophisticated drama. 
There was, you may remember, a young 
fellow named Clark Gable. Clark stuck 
those big ears of his up over many a Western 
hilltop for bad men and Injuns to shoot at 
before he got the big break. Quite possibly 
the worst picture Sam Goldwyn ever made 
was The Winning of Barbara Worth. But it 
jutified itself because Gary Cooper rode on 
in some scenes. George Brent co-starred 
with Rin-Tin-Tin early in his cinematic ca- 
reer. Come to think of it, Rinty got top 
billing ! 

IT WOULDN'T be surprising to see 
family tradition established on western 
screens which might correspond to that cre- 
ated through generations by the great fami- 
lies of the theatre such as the Drews and 
Barrymores where there are third, fourth, 
even fifth generation of actors. Ruth Mix, 
Tom's little gal, has just signed to star in a 
series of Ruth Mix Productions for Grand 
National. Jack Holt's son has been seen on 
the screen. And so has Noah Beery, Jr. 

But from whatever source new talent 
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ways be handsome juveniles, attractive in- 
genues and mustache-twirling heavies to 
thrill us in the bang-bangs. For, let the 
"Oscars" fall where they may, the cowboy 'n' 
Injun movies will keep right on rollin' 

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Even His Best Friends Don't 
Know Him 

[Continued from page 79] 

Baxter and Cohnan and others who knew 
Rill must have worked with him. And any- 
way, Bill himself, in the final analysis, is 
no quitter. Anyway, at last — many days 
after the original starting- date for Jean, 
Bill Powell showed up, ready to begin work 
on The Baroness and the Butler. And it 
was then that Hollywood began to discover 
that it has an utterly different Bill Powell 
than the Bill Powell of the days when Jean 
Harlow was alive. 

ODDRY enough, this new intense serious- 
ness reflects itself not in a dampening 
of his brilliance as an actor, but rather in 
the other direction. He seems to be apply- 
ing" a new intensity of effort to his acting. 
On the set, and around the 20th-Fox lot, 
they're already excited over The Baroness 
and the Butler. 

Under the lights, while the camera rolls 
and Bill speaks his lines, Powell looks won- 
derful. He's put on a few pounds, and it 
seems to remove some of the "drawn" look 
that was on him when he went abroad. "Gee, 
he looks better'n I've ever seen him," people 
say as they watch him work. 

BUT — when I sat a couple of feet away 
from him in his dressing-room, I saw some- 
thing else — something that the trick lights, 
and the make-up, hid on the set. I saw new 
lines around his eyes — and not those 
wrinkles that come from laughter. I saw 
an indefinable something in his eyes that re- 
places the sparkle and the twinkle that used 
to flash while he swapped wisecracks in the 
old days. They are the eyes of a man who 
has just seen things still too deep for utter 

HE KNOWS, himself, that he has 
changed. He tells, frankly, that his 
attitude toward his work has changed. 

"I don't want to make more than two pic- 
tures a year — ever again," he says. "It's 
a matter of money — and of my own happi- 
ness and health. Financially, it has come to 
a point where one has to choose between 
one's health and happiness, and say, ten per 
cent of what one earns by making many 
pictures a year. For after taxes and other 
expenses are paid, that's about all that's 
left of what a high-salaried actor earns to- 
day. I'd rather live and be well on what I 
get from two pictures a year than make more 
money and pay for it with . . ." 

His eyes, looking straight into mine until 
then, suddenly seemed to range beyond me. 
It was as if Bill suddenly didn't see me, or 
the dressing-room, or the cluttered stage 
beyond ; but saw other things, other times. 
Then, after just a momentary pause, his 
voice went on : 

". . . . with health, happiness." Sud- 
denly his knuckles went white. His voice 
changed. "God — if health had come 
first, instead of the drive to work — some 
who are no longer with us today would 
have been here, still ... !" 

His eyes burned into mine. The name of 
Jean Harlow wasn't mentioned, but it mi^ht 
as well have been shouted out loud in that 
little dressing-chamber. Bill didn't say an- 
other word. He got up, stood in front of 
the electric-light-rimmed mirror, gave a 
finishing touch to his make-up, turned ab- 
ruptly and walked out, back to the set where 
they were waiting for him, to make celluloid 
love to Annabella. 


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A Fireside Chat With Little Caesar 

[Continued from page 48] 

prevalence of nudity? Do we condemn a 
book that has a scene of normal lovemaking 
because of its torrid expression? Are we 
to burn the dictionaries for defining words 
that are derogatory ? 

"Most normal persons are opposed to rigid 
censorship, and it is my belief the public 
should be the ultimate judge. I feel that the 
public desires realism in movies so long as 
the boundary of decency is not trespassed. 
Of course, what Mr. Smith considers good 
taste, Mr. Brown may consider bad, but in 
the long run the public gets the kind of pic- 
tures it demands." 

The man who made Little Caesar inter- 
nationally famous turned to crime stories to 
illustrate his argument. 

"Let's consider crime themes, which are 
most criticized, and to which I am, unwill- 
ingly, most closely associated. Crime pic- 
tures describe an important phase of con- 
temporary life and so long as crime is a 
social reality, why shouldn't it be shown on 
the screen? Let me quote my friend, Will 
Hays : 'The proper treatment of crime, a 
social fact, or as a dramatic motive is the 
inalienable right of a free press, or free 
speech, and/or an unshackled stage or 

1; TIT HEN Little Caesar was released the 
VV moralists swung into action by as- 
serting that a hero had been molded out of a 
gangster and he became a sympathetic char- 
acter when he fell into harm. This may be 
true, but his life ended like a varmint. He 
rolled into the gutter riddled with lead. A 
definite moral was established : He who lives 
by the sword, must die by it. To my way of 
thinking, the little tough guy had universal 
appeal because he was human and life-like. 
Life for the average human is rather slow- 
moving at its wildest, so that most of us 
delight in following the exploits of our story 
book heroes. 

"I don't mean that after viewing an un- 
derworld drama, movie fans dash out of the 
theatre, grab a gun, jab it into the ribs of 
the first passerby or round up some of their 
pals and take a victim for a 'ride,' but they 
do retain to a certain degree many of an 
actor's idiosyncrasies. Some people may talk 
a little from the side of their mouths, others 
may walk with a slight swagger, but, in- 
variably, after a few days these mannerisms 
wear off, leaving once again normal indi- 
_ "An acquaintance of mine told me of his 
sixteen-year-old boy who, during a contro- 
versy with his little sister at breakfast one 
morning, picked up half a grapefruit and 
aimed it at her. My friend had to act fast 
or the girl would have received it full in the 
face. When asked what inspired such an 
extreme gesticulation, the boy answered: 
'Oh, I saw a guy do it yesterday in the 

"It is my sincere hope that all the con- 
temptible deeds committed by the characters 
I have portrayed have not been recorded 
against me. Neither do I wish it understood 
that I am fond of gangsters and killers. My 
neighbors will swear that I am nothing less 
than a peace-loving citizen. However, the 
psychology of the criminal fascinated me, 
as it does you, and I would like to under- 
stand it better. I would like to delve into 
the human soul and attempt to discover that 
which makes one a social asset and another 
a liability. Criminology is a very engrossing 
subject, but it interests me only pro- 

When Answering 

fessionally. To portray characters of a 
criminal origin is not my choice. 

"For some time I have had a strong, al- 
most feverish desire to play the role of a 
mart similar in background to Danton, Za- 
haroff or Napoleon, with pasts rich and flow- 
ing with color. I want to play these roles 
in pictures. For instance, take Georges 
Jacques Danton, the French lawyer, who at 
the age of thirty-five met his death at the 
hands of the revolutionary tribunal he had 
created a year earlier. To perfect an ironic 
situation of this nature on. the screen would 
give me much satisfaction. 

"Then there is the life of Sir Basil Za- 
haroff. Who was this strange personality? 
Shrouded in mystery, so uncanny in his ways 
and methods, that no one knew his authentic 
identity until his obituary was published. It 
would also fill volumes to reiterate the 
abounding career of the Corsican general 
who strode about with his hand at his breast, 
his little frame quivering with vitality and 

THOROUGHLY engrossed with his 
cross-section of characterization, Eddie 
Robinson continued : 

"When these immortals flash across my 
mind, I can't help perceiving the remarkable 
similarity between these men and our con- 
temporary underworld czars. Bold, shrewd, 
they possess the identical relentless craving 
for power which must be appeased, though 
it means considerable loss of human life, 
and, for themselves, ostracism from society. 
In the case of Napoleon, inferiority accel- 
erated his fiery ambition which is true of so 
many of the "big shots" of today who would 
be nothing short of corner hoodlums if they 
were not armed with guns. 

"Relating back to crime in the movies, it 
must be remembered that pictures today em- 
phasize the truth that crime doesn't pay. In 
comparison to the press, the movies are 
morally beneficial. On the screen when a 
murder is perpetrated, the culprit is always 
caught and flung behind bars, while in the 
daily newspaper the murderer is at large as 
in the accounts of unsolved crimes such as 
the Dot King, Desmond Taylor, Ehvell, 
Halls-Mills, Rothstein cases to mention a 

"I often wonder why our moralists have 
not bombarded the press. Screen plots are 
childish compared to some of the stories that 
run in the newspapers. Take the case of 
Robert Irwin. That the ghastly triple mur- 
ders had plenty of hot news value cannot be 
denied, but was it a necessity to emphasize 
in such precise detail every minute step taken 
by the murderer in executing the crimes ? 
Was it in the best of taste to exploit the 
Gedeon girl's body in most revealing poses 
every day for weeks ? If a movie was made 
of the mildest criminal accounts, our most 
liberal minded reformer would leap to de- 
nounce it as indecent, tending to corrupt the 
minds of the young. 

"To my delight, the moralists haven't at- 
tacked Kid Galahad with too much vehe- 
mence, nor do I think they will find The Last 
Gangster to their distaste. Of course, I am 
a little biased in thinking Nick Donati in the 
film wasn't really such a ruthless character. 
I feel this way because I literally relived 
Donati s whole life from the cradle to that 
momentous scene in Madison Square Garden 
near the close of the picture. 

"I knew all his doubts and complexes, his 
strength and weakness and his passions." 

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Advertisements, Please Mention March MOTION PICTURE 89 


[Continued from page 60] 

*^# .'-* t 


After the marital tie-up bandsman Johnny 
Green takes his bride, Betty ("Hats") 
Furness into his arms for the usual kiss 

wood every now and then. This time 
it was the news that Clark Gable had 
been killed in an auto accident. 

Frantic, Carole hit the telephone, 
finally located Clark, safe and sound, 
working at the studio. "From now 
on," she told him, "you'd better call 
me every hour when you're away from 

Kay Griffiths and Johnny Howard — 
There's a twosome that seems high-powered ! 

Hollywood has been trying its darndest to fasten a romance on Wayne Morris. He 
played the field until he met Priscilla Lane. Here they are at the Trocadero 

was roundly booed by the luncheoners ! 

Extreme No. 2 — lunching alone in a New 

York cafe, Jon suddenly felt two soft arms 

around him and a kiss planted on his lips. 

Rosalind Russell and Jimmy Stewart are 
a Hollywood twosome that gossipers call 
a heavy romance. So they might marry 


When he recovered, he saw it was Marlene 
Dietrich who'd come over from her own 
table and given him the kiss (to quote her 
own words), "for a wonderful performance 
in your first big picture." But she called him 
MISTER Hall, so don't get the idea that 
here's a new romance. 

TIPS Without Names — watch Merle 
Oberon and that famous British 
golfer. — don't be surprised if Dolores 
ex-Barrymore Costello and a big Los 
Angeles doctor make an announce- 
ment soon. — and it's a bigshot New 
York banker who's been giving vivid 
Margot Grahame the Hollywood nite- 
spot rush. 

— if there's a reconciliation in the cards 
for Sidney Blackmer and Lenore Ulric? 

— if that on-again-off-again engagement 
of Paula Stone and Nite Club Operator 
George W. Mason is finally going to end in 
matrimony after all? 

BLACKEST moment in Carole 
Lombard's current life was when 
she got one of those too-frequent false 
reports of disaster that excite Holly- 

"T T'S-ALL-OVER" department: 

J. — Virginia Lee Corbin Kroll, one- 
time child star, came a cropper on 
her "second honeymoon" with Broker 
Ted Kroll when he again sued her for 
divorce, charging that she drummed 
his head with a coffee pot. 

— Steffi Duna and John Carroll 
just can't see eye-to-eye any more. 

Anita Louise's love-life is not packed 
with any heavy romance, but she enjoys 
Buddy Adler's company for "Troc" food 

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DOLORES DEL RIO* tells why it's good 
business for her to smoke Luckies . . . 

"That $50,000 insurance is a studio precaution 
against my holding up a picture," says Miss Del 
Rio. "So I take no chances on an irritated throat. 
No matter how much I use my voice in acting, I 
always find Luckies gentle." 

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" -. «#! 












RELATIVES — loretta young 



.-•j"- , .:-;- ;: .h- 

Imagine our surprise! We knew the 
world needed a magazine for men only 
— that the women had all the best of 
it with hundreds of magazines all their 
own, while the poor males were prac- 
tically destitute for reading matter. 
So we published such a magazine— a 
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azine for men only. We called it just 
that: FOR MEN ONLY. 

Our surprise came, not because men 
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but because women too insist that FOR 
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They often buy it for their boy friends. 

Your newsdealer has copies of the cur- 
rent issue. Twenty-two entertaining, 
robust articles, including a hilarious dis- 
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Cooper, plus more than twenty full-page 
cartoons in color. 25c at all newsstands. 



FEB 26 1938 


Things have been happening to 
Jimmy Cagney. He has been very 
much in the limelight of late — chiefly 
because he has made peace with 
his former studio, Warners — and will 
star for them again in the smash 
stage hit, Boy Meets Girl. He is 
determined to be back in the list 
of the Ten Top Favorites again. In 
other words he wants a New Deal. 
After Exploding the Cagney Myth- 
taking the mystery out. of him — the 
May MOTION/PICTURE will also 
feature sparkling stories about 
Simone Simon, new dazzler llona 
Massey, the Ritz Brothers, Alice 
Brady — and a host of others. And 
live,' alert gossip and news about 
your favorites. Place your order for 
the May issue with your newsdealer. 

Motion Picture Combined with Movie Classic is 
published monthly by Fawcett Publications, Inc., at 
Louisville, Ky. Executive and Editorial Offices, 
Paramount Building, 1501 Broadway, New York 
City, N. Y. Hollywood Editorial Offices, 6331 
Hollyzvood Blvd., Hollywood, Calif. Entered as 
second-class matter at the post office at Louisville, 
Ky., under the act of March 3, 1879. Additional 
entry at Greenwich, Conn. Copyright 1938 by 
Fawcett Publications, Inc. Reprinting in whole 
or in part forbidden except by permission of the 
publishers. Title registered in. U. S. Patent Office. 
Printed in U. S. A. Address manuscripts to New 
York Editorial Offices. Not responsible for lost 
manuscripts or photos. Price 10c per copy, sub- 
scription price $1.00 per year in V. S. and posses- 
sions and Canada. Foreign subscription, $1.50. 
Advertising forms close the 20th of the third month 
preceding date of issue. Advertising offices: Nciv 
York, 1501 Broadway; Chicago, 360 N. Michigan 
Ave.; San Francisco, Simpson-Reilly, 1014 Russ 
Bldg.; Los Angeles, Simpson-Reilly, Garfield Bldg. 
General offices, Fawcett Bldg., Greenwich, Conn. 









Combined With 


Volume LV, No. 3 APRIL, 1938 Twenty-seventh Year 

Cover portrait of Loretta Young painted by Zoe Moiert 

Hold That Train! 10 

"I'm Afraid of Marriage" — Rosalind Russell Gladys Hall 21 

Did England Change Bob Taylor? James Reid 23 

How To Win Beaux and Influence Relatives Dorothy Spensley 24 

Alice Faye's Marriage Code Virginia T. Lane 29 

Superlatives of 1937-1938 Temple Crane 30 

Who's Whose in Hollywood James Reid 34 

How Disney Does It Roger Carroll 42 

"I'd Rather Be First" — Sonja Henie Molly Castle 27 

Vocal Boy Makes Good (Kenny Baker) Harry Lang 3,2 

The Private Life of Burns and Allen Leon Surmelian 33 

The Man Who Doesn't Give a Darn (Walter Pidgeon) Marian Rhea 48 

Rubber Legs (Ray Bolger) Don Burr 50 

Joan Crawford 19 

Gladys Swarthout 20 

Robin Hood and Maid Marian '. 22 

Fernand Gravet 26 

The Big Broadcast of 1938 28 

Bob Hope, Jon Hall, Wayne Morris 37 

'The Talkie Town Tattler Harry Lang 6 

■ Picture Parade 12 

Future Favorites: Virginia Grey John Schwarzkopf 13 

Future Favorites: Ann Rutherford Lee Blackstock 15 

The Talk of Hollywood 44 

Prize Letters 52 

Your Witness on the Stand Winifred Aydelotte 54 

Men Behind the Stars: Gregory La Cava 56 

On the Sets With the Stars 58 

You Know Your Movies? 60 

Tip-Offs on the Talkies 90 

Mile. Chic's Hollywood Fashion Tips 17 

Spring Swing (Fashions) 38 

Be Yourself (Beauty) Denise Caine 49 

Cheese It . . . The Tops! Mrs. Christine Frederick 66 


Art Director Western Editor Staff Photographer 



A T T L E R 

P R i /M I 6 B, t" 



STAND-INS take their standing-inning 
seriously. At least, Tommy Noonan 
(who stands in for Tyrone Power) and 
Mary Jane Irving (who stands in for Janet 
Gaynor) do! On account of they're even 
standing-in, but not before the cameras, for 
Ty and Janet in their o-so-beeg romance 
. . . ! More than one Hollywood tourist has 
gotten a thrill out of seeing, at some nite 
spot, these two cooing and gazing into each 
other's eyes — looking for all the world like 
Janet and the Power lad doing their stuff. 
Tommy and Mary Jane are no less in love 
than their big-star "originals." And wouldn't 
it be a kick if, when Ty and Janet get ready 

Here's evidence that La Dietrich and Doug, Jr., are still that way about each other 
—with Fritz Lang as a witness. Meanwhile Marlene sees the Earl of Warwick, too 

Jean Parker and hubby George Mac- 
Donald step own Big Apple at a party 

to be married, they let Mary Jane and 
Tommy go through the ceremony first — 
just like stand-ins on the set? 

INCIDENTALLY, this . Ty and 
Janet thing continues HOT. And 
Sonja Henie, who was once No. 1 
woman in Ty's young life, is out in the 
cold — as cold as the ice she skates on. 
Not without a bit of final-curtain pyro- 
technics, however. For your faithful 
ol' Tattler learns that Sonja and Ty 
talked it over, not long ago — and did 
they TALK ! ! ! Why, they almost 
yelled ! ! ! However, it doesn't seem 
to be an oversized secret that Sonja 
was never really seriously set in Ty's 
heart. AH through the Henie-Power 
romance-blurbing, there was that li'l 

extra gal who didn't get much pub- 
licity but who nevertheless saw lots of 
Ty . . . ! 

Eddie Sutherland and Judith Allen— 
They're doin' a lot of steady pal-in' . . . ! 

MIND you, it MAY be true — but 
somehow or other, nobody in 
Hollywood who claims to know his 
Hollywood is taking that Wayne 
Morris-Priscilla Lane "engagement" 
seriously. All the wise-guys are adding 
a grain of salt before they swallow it. 
Reason: Wayne, since he went sky- 
[Continned on page 8] 

■-;-< ^£?M& 



moV |E FA NS 



David Copperfield 

Nothing Sacred 

A Tale of Two Cities 

The Prisoner of Zenda 
A Star Is Bom 
Anna Karenina 
Viva Villa 



L* „U produced fry 

W o. seunicr 



in Technicolor 

M .RK TWAIN'S beloved story 

„fpd by Selsnick lnte '". United Artists 
presented «tf . leased thru uni 

greeted by Norman Taurog 

When Answering Advertisements, Please Mention April MOTION PICTURE 


SO FAR as the three 1938 Movieland 
Tours are concerned, the copybooks 
are absolutely right — there is no 
time like the present ! That is, pro- 
viding you are in the market for 
the best two weeks' vacation you 
will ever enjoy. Members of the 
1935, 1936, and 1937 Tours, sponsored 
by Fawcett Publications, Inc., are still 
talking about the glorious time they had 
in Hollywood. And members of the 1938 
Movieland Tours will enthusiastically 
agree once they arrive in the Magic City 
and are taken in tow by representatives 
of Motion Picture Magazine and 
shown through the homes of the top- 
ranking stars, given a chance to chat with 
their favorite screen personalities, see 
them at work and at play, share in their 
fun at nightclubs, and watch them per- 
form before the cameras at major studios. 
Of all the thousands of tourists who come 
to Hollywood during the summer, few, if 
any, ever get the opportunities to see the 
cinema city from the' inside as do the 
lucky guests of these Tours. 

How many tourists, for instance, ever 
get an opportunity to enjoy a cocktail 
party at the home of Warren William 
and his wife; or at the palatial home of 
the Harold Lloyds, or at a cocktail party 
presided over by Bazooka Bob Burns and 
his bride. How many tourists ever get an 
opportunity to chat with such high-rank- 
ing screen stars as these — and do it in 
their own homes? Not many — if any. 


But that is only a part of the entertain- 
ment in store for you once you reach 
Hollywood. Warren William WILL 
BE host at his home for guests of Movie- 
land Tour No. 1 that leaves Chicago July 
3rd and arrives in Hollywood, Sunday, 
July 10. Harold Lloyd WILL BE host 
at a cocktail party at his home for guests 
of Tour No. 2 that leaves Chicago July 
24 and arrives in Hollvwood Sunday, 
July 31. Bob Burns WILL BE host at 
a cocktail party to be given at his home 
in honor of guests of Tour No. 3. And 
not only will these three famous stars be 
hosts but they will have scores of other 
famous stars in attendance to help make 
these events memorable ones. 

But before we get too deep into your 
Hollywood vacation thrills, let's go back 
and get a preview of the 1938 Tours from 
beginning to end. 

As you know, from reading the March 
number of Motion Picture Magazine, 
Fawcett Publications, Inc., for the fourth 
successive year, is sponsoring a de-luxe 
trans-continental two weeks' vacation 
trip on wheels — all for the price of a 
round-trip ticket. With side trips from 
Seattle, San Francisco, Hollywood, Salt 
Lake City, and Colorado Springs thrown 
in FREE. As in former years, all these 
Movieland Tours, scheduled for 1938, 
leave Chicago. That's where the gather- 
ing of the vacation clan takes place. 

The 1st Tour leaves Chicago July 3rd, 
arriving in Hollywood Sunday, July 10th. 

The train at top takes you through the 
grandeur of the West, straight to Holly- 
wood. Left, Harold Lloyd, who has finest 
estate in Hollywood, will be host for 
Second Tour. Above, Wayne Morris gave 
key to city to last year's Tourists 

The 2nd Tour leaves Chicago July 
24th, and arrives in Hollywood Sunday, 
July 31st. 

The 3rd Tour leaves Chicago August 
14th, arriving in Hollywood Sunday, 
August 21st. 

Keep these dates in mind. Select the 
Tour that coincides with your vacation 
plans and write NOW to Movieland 
Tours, Fawcett Publications, Inc., 360 
North Michigan Ave., Chicago, 111., for 
the complete illustrated booklet — which 
will be sent you without any obligation on 
your part. 

The itinerary [Continued on page 88] 


Without obligation on my part, send me 
your complete illustrated booklet describing 
the Movieland Tours. 



City State 


SHE'S a Hollywood girl . . . second 
generation of picture-makers, for her 
father was Ray Grey, comedy director . . . 
Born and reared in the atmosphere of the 
picture business . . . Virginia^ naturally 
turned to the screen very early in life . . . 
To prepare herself, she studied dancing as 
one of the famous Meglin kiddies . . . She 
later became so proficient in the art . . . that 
she taught at the same dancing school . . . 
At nine, she was playing bits and parts . . . 
most important of which, at that age, was 
her Little Eva in Uncle Tom's Cabin . . . 
An expert dancer . . . she applied for and 
was accepted as one of the Glorified Girls 
in The Great Ziegfcld ... She was remem- 
bered when the studio was seeking a stand- 
in for Madge Evans . . . she was kept on 
as stand-in for Florence Rice . . . Her break 
came when she was cast for the leading 
feminine role in the miniature musical, 
Violets in Spring . . . opposite George 
Murphy . . . Her work in this short subject 
was so outstanding that she was signed to 
a term contract ... at M-G-M and played 
in Old Hit tch . . . Although she is still heart- 
whole and fancy-free . . . this nineteen-year- 
old miss has definite ideas . . . about the 
qualities a "boy-friend" must possess . . . 
The youth of her choice, she says, must be 
a six-footer . . . with black (very black) 
hair ; American ; athletic . . . She doesn't 
care whether he dances or not . . . she'll 
furnish the dancing for both of them . . . But 
she would like him to be able to sing . . . 
A sense of humor will be the most important 
attribute . . . She disagrees with Marlene 
Dietrich's declaration that American men 
have no gallantry ... or polish . . . "Perhaps 
American boys aren't the hand-kissing, heel- 
clicking, bowing-from-the-waist-type she 
asserts . . . But they have an inbred gal- 
lantry and chivalry . . . which register in 
their actual deeds of kindness, consideration 
and comradeship . . . Hand-kissing manners 
are nothing but trained-dog tricks . . . the 
American's gentleness, manliness and 
strength of character are inbred, natural 
and genuine" . . . Virginia is a blue-eyed 
blonde . . . five-feet-four-inches tall . . . and 
weighs 120 pounds . . . She was born in 
Hollywood and educated in North Holly- 
wood High School . . . Her most recent 
screen appearances were in Bad Guy with 
Bruce Cabot . . . and in Rosalie with Nelson 
Eddy and Eleanor Powell . . . Virginia drives 
her own car . . . lives in a small apartment 
. . . does her own cooking . . . when she was 
a Glorified Girl she had platinum blonde 
hair . . . but now that she's settled down to 
a dramatic career . . . she has allowed the 
natural brown to return to her tresses . . . 
most of her fan mail comes from Hollywood 



A,„ •*% S 0AP... ITS THE 


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WAV 1 - 



NOW let's see her through bobs eyes 








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Accept No Substitutes ! Always Insist on the Advertised Brand 

'FERRETS OF FRESHNESS"... Paramount's talent scouts, Boris Kaplan and Edward Blatt 


ANN RUTHERFORD is in pictures 
today because she is a "natural." 
Her sparkling eyes, fresh youth com- 
bined with a charming personality . . . 
and a background of the stage won Ann 
her first role in pictures . . . Ann went 
on the stage when she was in the first grade 
in grammar school . . . Children were needed 
in the San Francisco production of Mrs. 
Wiggs of the Cabbage Patch ... so when 
Mrs. Rutherford took her small daughter 
down to the theatre for a part she landed 
a job . . . After her first appearance, Ann's 
success was such that her mother decided 
on the stage as a career for her daughter . . . 
Whenever a company came to San Fran- 
cisco . . . and there was a job in it for a 
child, Miss Ann always got the part . . . 
When Ann was 11 she came to Los Angeles 
with her mother . . . where she finished her 
schooling . . . while still in high-school, Ann 
decided to get part time work in radio . . . 
and she was subsequently given a role in a 
local program . . . she continued on radio 
programs for four years . . . and it was while 
she was playing the role of a hillbilly's wife 
on the air . . . that a screen scout heard her 
and offered her a screen test . . . Needless 
to say . . . the test was highly successful 
and, as a result . . . she was given the lead 
of Waterfront Lady at Republic studios . . . 
While at Republic . . . she gained the friend- 
ship of Lew Ayres . . . who was then getting 
his start as a director . . . Lew took her 
"under his wing" . . . and each night after 
work he would go over her lines with her . . . 
until he had taught her all he knew . . . Ann 
played in several pictures at Republic . . . 
but it wasn't till she played the lead in a 
color short at Metro-Goldwyn-Mayer en- 
titled Annie Laurie . . . that she gained real 
recognition on the screen . . . After this, 
she was signed as a feature player at that 
studio . . . and she is now slated for top 
featured parts . . . Ann is five-feet-three- 
inches tall . . . has dancing brown eyes and 
dark brown hair . . . She plays a good game 
of tennis ... is practicing archery and 
taking riding lessons . . . As her "greatest 
fear" she lists a runaway horse . . . Ann's 
main ambition is some day to become a 
"really great actress" . . . with such a grand 
start she has already had, Ann should cer- 
tainly make the grade . . . You can bank on 
Ann . . . her studio has great faith in her ! 
She considers The Good Earth her favorite 
picture . . . and Pearl Buck her favorite 
author . . . for perfume scents she likes 
gardenia best . . . among the plays in which 
she appeared as a child actress on West 
Coast are . . . Little Women, Seventeen, 
Peter Pan, Daddy Long Legs and Mrs. 
Wiggs of the Cabbage Patch. 

FRESHNESS! It's the very life of 
Hollywood! Money's no object in 
the hunt for fresh plays and players. 
When a star goes stale, his light goes out! 

But when a cigarette goes stale, it 
should never be lit at all! For every drag 
you take on a stale cigarette is a drag 
on you. Freshness is the life of cigarette 
quality, too. Old Gold spends a fortune 
annually to put an extra jacket of Cello- 

phane on its every package. You pay 
nothing extra for it . . . but it brings you 
a world of extra enjoyment. The full 
rich flavor of fresh-cut, long -aged to- 
baccos; prize crop tobaccos at their best. 

Buy your Old Golds where you will 
... in damp climates or dry. They're as 
good where they're sold as where they're 
made . . . and that's as good as a ciga- 
rette can be made! 

Outer Cellophane Jacket 

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The Inner Jacket Opens 

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TUNE IN on Old Gold's Hollywood Screenscoops, every Tues. and Thurs. night, Columbia Network, Coast-to-Coast 


When Answering Advertisements. Please Mention April MOTION PICTURE 

Body So 
Was Ashamed 
To Undress! 

But Family Doesn't 
Laugh Any More 
Since She Gained 
7 Lbs. on 1st Bottle 
Now Looks Fine and 
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All Skinny Men 
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I am 5 ft. 5 in. tall. 
Before I was married 
I weighed 110 lbs. 
That wasn't much, 
hut better than the 94 
His. I've weighed ever 
since my boy was born 

years ago. 
I was always active 

in out of door sports 
and in dancing, hut 
honestly, I've been 
ashamed to put on a 
bathing suit or an 
evening gown for the 
last 4 summers. Be- 
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changed my mode of 

Last August I was 
visiting my mother- 
in-law. I came to 
lunch in a sun-back 
dress with straps over 
the shoulders. Mrs. 
11. looked at me, 
laughed and said: 'If 

1 had shoulders that 
looked like yours, I 
certainly would wear 
a high-neeked dress.' 
Can you imagine how 
badly I felt. I was 
glad when the sum- 
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could wear a sweater 
and skirt. 

Now, thanks to Kelpamalt, ^J 
I'm looking forward to Spring. 
I have taken just 100 tablets 
and I've gained 1 lbs. Think 
of it. Seven pounds in 16 
days. Believe me, I've sent 
for another bottle. I feel so 
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remarking on my looks. My 
only regret is that I didn't 
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s lWhtly weak on 

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3°. hn . V- falls in « * 

vi-n-auu"- - 
»»». Vhe film covers * 

*v; = nne of the tn » ^ -——'---: - :/.-. 

this one of tue ^^^^_^^ 



Y divorce that WouB- hetic 

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| 'M virtually living at Santa Anita race-track. 
■^ I have to, if I want to catch any of the Holly- 
wood gals in their best bibs-and-tuckers. Honestly, 
if you don't own a horse this season, or are, at 
least, on speaking terms with one and can call him 
by his first name, you just aren't in it! . . . But it's 
a break for you, because it gives all feminine 
Hollywood another excuse for new clothes, new 
gadgets and new fashion huddles. . . And trust 
your gal friend, Chic, to be right there on the 
firing line to catch all the ideas and send them on 
to you. . . It was there I saw Gloria Swanson 
wearing a trick new belt that is a complete answer 
to any maiden's prayer of what to do about losing 
gloves. Gloria's belt looks ordinary enough — brown 
suede that fastens with a gold clasp from which 
hang two gold rings. But after she showed me the 
trick of fastening her gloves through these rings 
when she isn't wearing them, I decided a belt like 
that was going to be the very next addition to my 
anaemic wardrobe. . . But I can't resist going a 
step farther, and having, instead of the rings, two 
large, ornamental safety-pins to fasten my gloves 
to. I remember my grandmother used to anchor 
my mittens that way. 

XXJ HAT you wear around your middle in the 
" " manner of a belt is very important right 
now — and can be as individual as your imagina- 
tion. . . Jane Wyman was wearing a terribly clever 
one that day, and she told me that she designed 
it herself. Her belt, of black suede which she was 
wearing with a light grey shirtmaker frock, had 
her name on it, spelled out in silver block letters. 
She likes it so well, that she is having several of 
them made in different fabrics for her sport clothes. 

T T never takes Joan Crawford long to spot a 
-*- fashion huddle, so as soon as she arrived at 
the club-house, she hurried over to where Gloria 
and I were talking. And had the smartest new bag 
to show us! But don't go for it unless you're a gal 
like Joan who makes her clothes and accessories 
part of her, not just something she wears. Because 
this bag was an exact duplicate of a postman's 
bag! (Yep — the very one he uses to deliver those 
nasty letters the first of the month!) It was made 
of a heavy gold-corded material, and hung from her 
shoulder with a long strap just like the real thing. 
Gosh, how many lipsticks I could lose in that ! 

REMEMBER last month I told you about the 
trick buttons all the movietown gals were using 
to pep up their plain frocks? Well, I managed 
to get a glimpse of Barabara Read as she hurried 
out of her box, just before the race started. 
Barbara's tailored sports dress of brown wool- 
alpaca was trimmed all the way down the front 
with brilliant hand-painted eucalyptus pods! I 
should say that is going back to nature for dress 
trimmings. . . Virginia Bruce hurried up to tell 
us we would miss the opening race — but I really 
think she wanted to show us her new lapel watch. 
Shaped like a miniature tortoise, and fashioned of 
tortoise shell, the face of the watch is visible 
through the shell on his back. The head of the little 
animal is really the winder-upper. 

T REALLY didn't see much of the races, because 
■*• I was making mental notes of all these things 
to write you and trying to decide what to wear 
when I went evening-clothes snooping at the 
Hawaiian Paradise that night. . . But I found out, 
when I got there, that it isn't so much what you 
wear as a dress that's important. It's the same with 
formal clothes as with daytime, the accent is on 
what you wear with your gown. 

npHAT cute little Betty Jaynes, from out M-G-M 
■*• way, was the first arrival to pass by our table. 
She was so busy talking with her hands that she 
didn't see me — and why shouldn't she be? Be- 
cause she was wearing the cutest little white 
ermine mittens, with cuffs of ermine tails. . . 
Another hand-talker-wither was Gloria Stuart. Her 
excuse was a pair of blue lace mittens with half- 
fingers like the old-fashioned kind. The cuff of 
her mitten, which reached well above the elbow, 
was outlined with gold sequins. . . Another old- 
fashioned note was struck bv Virginia Bruce in 
her cape of blue ostrich feathers. Honestly, that 
gal can look more fragilely beautiful than anyone 
I know. . . Her cape is collarless. with broad 
shoulders and reaches clear to the floor. 

Mile. Chic 


< e© 

r Twenty-eighttonight...and not 
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^^ Ok-h-li Ac mcccA ^crHt^ H ^ / 

It's your top-hit musical (but TOP!). . .with' 
all the zing and extra sparkle you expect 
and get in a Darryl F. Zanuck show! 






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On The Hudson 
-Hatt Moon On .. 

.. lC ould Use A .V 
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• Tot MV Mind On Music" 
^Gordon and Bevei 

A 20th Century- Fox Picture with 








the leading comedian of screen and radio 


Directed by William A. Seiter 

Associate Producer Gene Markey 

Screen Play by Harry Tugend and Jack Yellen 

Original Story by Karl Tunberg and Don 

Etthnger • Suggested by the stage play by 

Edward Dowhng and Cyrus Wood 



Accept No Substitutes ! Always Insist on the Advertised Brand ! 

To appear in a picture entitled 
Mannequin' one has to dress as a 
mannequin. So we find Joan 
togged out in a three-piece pajama 
ensemble and keeping in charac- 
ter as the most imitated girl in 
the world. Note the monogram 
J.C.T. on the coat — which gives a 
touch of TONE to the outfit. Joan 
is now basking in her own back- 
yard — and winning back the "wim 
and wigor" she used up while on 
a mad holiday whirl in New York 







Some songbirds prefer daylight 
hours for vocal expression but 
Gladys Swarthout favors evening 
shadows for melodies in her movies. 
Not so long ago she gave us 
Give Us This Night — which sug- 
gested champagne and a waltz 
with HIM. Naturally this brought 
forth Champagne Waltz. That she 
still sings in the night is proved 
in her new picture — which carries 
the title of Romance in the Dark 



ROSALIND blew into Hollywood 
from New York wearing hearts 
and dates and flowers and parties 
and family reunions like charms 
dangling from a charm bracelet. 
Roz had had one of the times of 
her life ! Rosalind always has the 
time of her life. She'd rather laugh than 
eat, drink, make love, dance, work, play 
tiddledy-winks. And does. There is 
laughter on her lips and light in her eyes. 
And so you have the time of your life, 
too, when you are with Rosalind. 

The lady has beauty, too, in case you 
think the camera is kind or your eyes 
are deceiving you. Mobile and mocking 
beauty and, yes, mysterious. Rich, dark 
hair. Brown, brilliant eyes. Rich, red 
mouth, formed by Nature to look slightly 
scornful. Nice hands and slender feet 
and a look of race. And she doesn't use 
her beauty as a weapon, rather she uses 
her brain, which is keen. 

The day I talked with her she seemed 
more electrified than usual, which is 
high voltage. Rosalind affects one like 
a cocktail, very potent; she had had, I 

say, one of the times of her life in the 
New York she loves. She had bought 
"'sinful scads of clothes" ; she had danced 
the nights away and watched the dawns 
come up like thunder over Bagdad's 
battlements ; she had just bought a home 
in Beverly Hills and we were sitting in 
it, whitewashed brick and oak trim out- 
side, it is; colorful, vivid blue and scarlet 
chintzes within, a bar done in gold and 
ivory-striped paper; zinnia colors . . . 
she said "now behold me, seated in my 
Beverly Hills mansion, surrounded by 
my Pekes, those satin cushions upstairs, 
all those coats, all that lingerie, little 
imports hanging [Continued on page 55] 

*^.- idto, ' 

IIIVI !!•■ 

Of course Robin Hood would be 
Errol Flynn and Maid Marian, 
Olivia de Havilland. An ideal 
partnership for romantic goings- 
on in Sherwood Forest, where 
the merest sweet nothings whis- 
pered by Mister H. and Mistress 
M. spell a mouthful of undying 
love. The boy friend tells his 
merry men to run along to their 
jousting bouts while he and his 
faire ladye take archery lessons 
from Cupid. It's told in color 
in The Adventures of Robin Hood 




up at the studio till next week. All right. 
I'm going to have myself a bit of a rest 
while I can. I'm just going to sit back 
and relax. And enjoy being home again." 

No one knew, from all this, whether his 
English trip had changed him or not. But 
today he had finally reported for work — 
for make-up tests for his next picture, 
Comrades. And I was going to have a 
conversational close-up of Robert Taylor 
in person. A chance to find out what, if 
anything, England had done to him. 

The publicity girl said we would find 
him in the commissary. 

This didn't jibe with the rumors that 
he had gone 'orribly, 'orribly reticent, the 
rumors that he had gone jittery about 
talking in public. This didn't fit the 
rumor-picture of Bob cowering in the 
farthest corner of his dressing-room, sus- 
piciously eyeing an interviewer, weigh- 
ing questions, answering only "Yes" or 

The commissary was the citadel of 
camaraderie, the studio clubhouse, the 
place where everybody relaxed. But that, 
as predicted, was where we found him. 

Bob certainly didn't look changed. A 
little heavier, perhaps, than he was last 
August. A [Continued on page 74] 

FOR a week since his arrival home, 
Robert Taylor had been in what the 
columnists refer to as "hiding." For a 
week, no reporters had so much as laid 
eyes on him — except at the races with 
Barbara Stanwyck. The press-agents 
hadn't seen even that much of him. He 
hadn't been near the studio. 

According to Someone Who Ought to 
Know, Bob had said, "I don't have to show 

While making A Yank at Oxford Bob lived in 
the English countryside — an experience he's 
not trading with anybody. He had an old 
English farmhouse—complete with trimmings 



Loretta Young loves 
strings and bows and 
why not? She has 
more beaux on strings 
than any other actress 
in Hollywood. And 
now Accent on Love 




DEAR Mr. Carnegie: 
Well, I read your book "How to Win Friends and 
Influence People" and I think it's darling. So full of 
information and philosophy, or maybe I mean psychology, 
for the man who has something to sell and the married 
couple, but practically nothing helpful for the Unmarried 
Girl, like myself. 
"Look, Loretta," I said to Loretta Young because I was at 
her house and we were talking things over, "Look, Loretta, I 
do think the professor has the right idea in helping people to 
utilize their dormant and unused assets, like he says in his 
preface, and to teach them to get along with people in every- 
day business and social contacts, but how's that going to help 
a girl to corral a new boy friend when the old one evaporates 
or joins the Marines ? 

"I really think," I said, reaching for another buttered cracker, 
because we were having lunch in her darling dining-room, all 
cool and green and shining with the gloss of old and well- 
polished furniture, "that the book, and it's gone into heaven 
knows how many editions since it first came out in October, 
1936, needs a few Hollywood overtones, or maybe I 
mean overtures; but anyway, Loretta, don't you think the 
Unmarried Girl needs some consideration in how to win beaux 
when these New York savants decide to help mankind? 
I do." 

"But you don't corral- men 
Loretta in her husky tones, 
surprised at the minor notes 
expect her to be equipped with 
and there she is — all contralto. 
Carnegie, because of your own 

ing. And she has never had a diction 
"Oh, you" I said, laughing gaily as 
helped myself to more salad. "You 
never have to worry about beaux be- 
cause you have a standing army of 
men, as large as Mussolini's 
waiting, just waiting for you 
to nod your head. In fact, 
you're just the type of girl 
that is needed when a book 
like this is written. With M 
your knowledge and his JE 
vocabulary and publish- 
ing contact, it would M 
be just darling, and so 
helpful. There could 
also be a chapter on 
how to manage your 
family, too, so that 
piratical . relatives, no 

and win beaux," murmured 
Really, professor, you'd be 
in Loretta's voice. You'd 
a full-fledged soprano voice. 

This will interest you, Mr. 

school of Effective Speak- 


matter how close the relationship, would not lure your beaux 
away. I notice that your sisters Bett and Poll never stole any 
of yours." 

AND that's how the idea of this letter to you started. Just 
^"*- so you won't be too confused, professor, "Bett" is Eliza- 
beth Jane, and Loretta's older sister. In films she is known 
as Sally Blane, and to the trades-people Mrs. Norman Foster. 
Older still, but not really very old at all, is "Poll" who is Polly 
Ann to her family, and Mrs. Carter Hermann to everyone else. 
There is also Georgianna Belzer, the Young girls' half-sister, 
aged thirteen, who is somewhere between the Goddess Diana 
and Perfection in Loretta's estimation. There doesn't seem to 
be any jealousy in this family, professor, which gives anyone 
a head start, with no complications, in the pursuit of the Full 
Life, don't you think ? Maybe Gladys Young Belzer, the girls' 
mother, is responsible. 

"There was never any beau-stealing in our family because 
Bett and Poll always had more beaux than they knew what to 
do with," declared Loretta. 

"I have never known a girl as popular as Bett, nor as sweet 
and unselfish as Poll. The boys naturally gravitated to them 
and sometimes, before Bett and, Poll were married, I'd come 
in from the studio and literally have to push the boys out of 
the way so I could walk across the room." Loretta said this 
with a twinkle in her blue-gray eyes, Mr. Carnegie, because 
she really has a nice sense of humor. 

"Fortunately I have never fallen in love with a man who 
didn't return the emotion," continued Loretta who has had 
more luck than most girls. "Maybe it's because I never wanted 
a man to be more handsome than companionable. Even when 
I was a youngster, just beginning to 'date,' it was 
the look around a man's eyes, the honesty 
and understanding of his gaze, that had 
me and held me. It's still that way. 
A man doesn't have to be handsome 
to make me like him. I like 
manly men, dependable, re- 
liable, but when they sud- 
denly turn 'little boyish' 
and feel hurt about losing 
a favorite watch or 
something, my heart 

simply dissolves. 


you say it's the 


ternal' in me, I shall 


It's funny, Mr. 


negie, but that 


[Continued < 


page 87J 



NE morning at breakfast 
Mrs. Henie opened up 
her newspaper and 
there, among the first 
ten box-office favorites, 
was the name of her 
little daughter Sonja, 
less than a year a star. Sonja, 
who had made but two pictures — or one- 
and-a-half, if you take into consideration 
that the poll was held before her second 
picture, Thin Ice, was generally released. 
Delighted, Mrs. Henie read the list 
to Sonja. Sonja put down her cup of 
coffee and looked thoughtful. 

"That's nice," she said. "That's very 
nice." But she continued to look 
thoughtful. "I would rather have been 
first," she added after a few moments. 
Even though she had above her on the 
list four men, two child stars and a team, 
even though she was, in so short a time, 
the first grown-up girl-star on the list, 
still, she was only eighth at the Box- 
Offke. That is good, but not good 
enough for Sonja. She would rather, 
but definitely, be first. 

It is the same with her life. 

"I don't vait to do anything unless I 



can be best at it," says this 
small, chubby person, whose 
chin beneath the dimples is so 
soft and round that to look 
at her you would never even 
suspect its owner's square- 
chinned personality, the ma- 
turity behind that baby face. 
And to that end her life and career 
are planned, down to their smallest 

First her career. Two pictures a year 
she will make (and for these they will 
pay her $100,000 a picture. A contract 
like that after just 12 months) ! And 
what is all this about giving up her skates 
and taking to drama ? That is not 
her idea of being best. Other people 
can act, but only she can skate just like 
that. Her acting is good, very good ; 
her ballet dancing (her talent for which 
she will exhibit both off and on skates in 
her next picture) is very nearly first 
rate. But her skating is tops. And so, 
with her charming personality, her 
knowledge of dancing, her world-famous 
skating, is Sonja's appeal at the Box- 
Office. She would rather be first. She 
will be. [Continued on page 83] 

Sonja has skated into the put 
fancy — and ranks among FIRST 
TEN after starring in only two 
films. Her next is Happy Landing 





THE soft strains of the wed- 
ding march lingered in the 
air. There was a hushed, 
expectant silence. Alice 
Faye handed her bouquet — 
all white orchids, gardenias 
and lilies-of-the-valley — to 
the maid of honor. Then she 
gave her hand to Tony Martin and the mar- 
riage service began, slowly, solemnly. 
"With this ring I thee wed ..." 
She pushed back the soft mist of her veil 
and suddenly she and Tony were in each 
other's arms. There was no mistaking that 
rapt expression on their faces. They might 
have been alone for all the attention they paid 
to the music, the lights or the crowd. 

'"Hey," said the cameraman pushing back 
his cap, "I can't print a kiss that long !" But 
nobody heard him, least of all Mr. and Mrs. 
Tony Martin. 

To them, it was their real wedding — with 
all the trimmings. Exquisite bridal gown, 
twelve bridesmaids and all. They had used 
their own rings, a slim band of diamonds for 
Alice, a plain gold circlet for Tony. And 


I N 


it was he (not the property de- 
partment!) who furnished the 
bouquet in the time-honored 
fashion of bridegrooms. When 
you see that scene in Sallyij Irene 
and Mary you're seeing pretty 
much the real thing ! 

It wasn't in the script origi- 
nally, of course. There's a story behind that — 
You remember the headlines that broke in 
every paper in the country last September : 
"Alice Fay Marries Tony Martin In Yuma !" 
A surprise elopement. Two kids crazily in 
love, pulling a "fast one" on Hollywood. 
Alice was working in her first starring picture 
out at Universal, You're a Sweetheart, and she 
talked the director into letting her have Satur- 
day off "to rest." Instead she flew to Yuma. 
Stood before the "marrying judge" there in a 
stuffy courtroom with the thermometer regis- 
tering 114 degrees in the shade. Her nose 
was shiny. She could feel herself wilting 
under that oppressive heat. "I'm a fine look- 
ing bride !" she whispered to Tony. But he 
only squeezed her hand. With their picture 
schedules they [Continued on page 84] 

In Sally, Irene and Mary, 
which is Alice's next film, 
she plays a real bride to 
her leading man and hubby 


" - J 

Shirley Temple is Hollywood's biggest 
money-maker — as well as being the most 
decorated star — with hundreds of medals 


THE mosta of the besta ! When he 
coined this catch-phrase, Ben Bernie 
must have meant Hollywood. Not a 
star in town but can claim some title 
or degree for the year, all the way 
from owner of the longest fingernails 
(June Travis) to such hotly con- 
tested honors as biggest money-maker 
(Shirley Temple) and richest star (Marv 

From all over the world, champions 
of every line come rushing to the movie 
town, and we have Sonja Henie, best 
skater, Eleanor Powell, fastest tap dancer, 
and even "Prince" Mike Romanoff, big- 
gest fake ! 

For the year, stars worked hard for 
such varying degrees as shortest mar- 
riage (June Lang), most artistic triumph 

Anita Louise in the opinion of beauty ex- 
perts wears the crown of most beautiful 




(Paul Muni), and quickest rise to fame (Jon Hall), and 
whether they're frivolous or serious, the titles are proudly 
worn, since you must stand out above the crowd in Hollywood 
— or go unnoticed ! 

Jeanette Mac Donald and Gene Raymond joined the select 
circle when they achieved the biggest wedding. (Also, ob- 
servers who know their Emily Post declare, the wedding in 
most perfect taste.) Myrna Loy and Clark Gable rated head- 
lines when chosen as the favorite stars of readers of 55 news- 

Jon Hall achieved quick- 
est rise to fame-making 
stardom in first picture 

OF 1937-1938 

papers. Joan Crawford showed the power of superlatives as 
the most imitated star of the year, initiating no less than 
three hairstyles (even the Juliet, first worn by Norma Shearer, 
became popular in a modified version which Joan wore.) La 
Crawford also popularized broad shoulders, polo coats, full 
pleated skirts, and other fashions. Gable, incidentally, is the 
world's most imitated man, whom experts credit with giving 
impetus to a fad for moustaches, wearing gloves, and more 
informal evening outfits. 

A score of beauty experts and world-famous artists nomi- 
nated the figure of Betty Grable as the shapeliest, while Anita 
Louise, in the opinion of Max Factor and other experts, still 
wears serenely her crown as most beautiful, and its honors like 
these that send the producers knocking at their doors ! 
And Wendy Barrie has the smallest [Continued on page 85] 

Beauty experts, famous 
artists nominate Betty 
Grable as the shapeliest 

Clark Gable rates as favorite male star 
of 55 newspapers. And is the most imi- 
tated man, having started moustache fad 

Joan Crawford most imitated 

Betty Grable best figure 

Greta Garbo biggest salary 

Dorothy Lamour longest hair 

Robert Taylor most fan mail 

Shirley Temple best box-office 

Clark Gable ditto for men 

Adolphe Menjou best-dressed actor 

Kay Francis best -d res sed actress 

Mary Maguire smallest shoes (size one) 

Anita Louise most beautiful 

Frances Dee most publicity shy 

Basil Rathbone most original host 

Wendy Barrie 

smallest waistline (22 inches around) 
Gary Cooper 

tallest male ( 6 feet, 3 Vi inches ) 
Gail Patrick .. tallest girl (5 feet, 8 inches) 

Ilona Massey most predicted for stardom 

Mary Pickford richest woman 

Charles Chaplin richest man 

Joe E. Brown 

biggest mouth (5 inch spread) 

Ginger Rogers best sport 

Bob Burns best columnist 

Katharine Hepburn most original girl 

Jack Oakie most original man 

Harold Lloyd 
" richest and biggest home and estate 

Jimmy Stewart is rated best story-teller — 
more amusing than many professionals 



THIS being February, 
Kenny Baker gets a break 
— he has thirteen cents a 
day more, to spend, than 
he has in other months. 
Oh, I know it doesn't 
seem like an awful lot. 
But to Kenny Baker, it's a big 
difference. You see, when a guy 
usually has only about a dollar-sixty- 
five a day for everything from lunch, 
gasoline, smokes, tips and things like 
that, thirteen cents — either more or 
less — makes an awful difference. 

And that's the way it is with 
Kenny. You see, Kenny allows him- 
self just $50 a month for spending 




money. On 3 or 31 -day 
months, that jitters down to 
the measly dollar-sixty-five or 
so, each day. But in Feb- 
ruary, thanks to only 28 days, 
it gives Kenny Baker all of a 
dollar-seventy-eight each 24 
hours. So he became a regu- 
lar Hollywood big shot this February, 
for a change. When he's playing 
poker with his pals (than which he 
likes nothing more), he's liable to bet 
fifteen or even twenty cents on a 
straight flush, instead of a dime. Or, 
maybe, he'll finally fulfil that re- 
pressed ambition of his — and leave 23 
cents for the luncheon waitress, in- 


stead of the ten-cent tip she's gotten 
used to by now. 

But don't get me wrong. Kenny 
Baker's no mactavish. Kenny's just a 
young feller who wants to get places in 
this world. One of the places he wants 
to get is his own farm — not one of these 
movie stars' farms which is so expensive 
to run and operate that every walnut it 
produces costs five or six dollars. 
Kenny, having been born in the very 
scent of fertilizer — he's a small-town 
kid, you know — wants a farm that'll not 
only pay for itself, but show a profit, too. 

He's saving [Continued on page 81] 

Kenny, who made good in radio, is de- 
termined to make good in the movies. 
He sings for you in Goldwyn Follies 

(NE of the most amazing success 

stories in Hollywood is that of 

George Burns and Gracie Allen. 

It is also one of the happiest love 


George and Gracie have made 

a fortune and innumerable 
friends by telling jokes. They form a 
crack team of highly marketable non- 
sense, with the sensitive Gracie in the 
role of a fluttery femme sap, spouting 
the inanities her shrewd husband and 
stooge feeds her. Both literally grew 
up in show business. Recently they 
were in Damsel in Distress, pepping up 
the picture with their individual tom- 
fooleries. Currently they are in College Szving, and are sched- 
uled to make two more pictures for Paramount. Their weekly 
colloquy is a fount of fun over the NBC airways. 

We had practically made a reservation for the psychopathic 
ward -when we went to interview them. But they turned out 
to be a thoroughly normal couple. George, we suspect, would 
not like this. He offered, in fact, to "gag up" the story we had 
in mind, so that Gracie would be in character in it. But we 
believe you would prefer to meet them as they really are in 
private life. 

We called on them at their home in Beverly Hills — a lovely 
colonial mansion. George had just got out of bed (it was 
10 a. m.), and came to the library in his pajamas, a funny 
beret on his head, the inevitable cigar in his mouth. We were 
enchanted by the gracious interiors of the house. There are, 
to be sure, some magnificent estates in movieland, but this 
is about the finest "homey" place we have seen. 

"We bought it for the children," George said, speaking in 
that husky voice of his. "We always lived in apartments, but 
when we adopted Sandra and Ronald, we settled down and 
became substantial citizens of the community." The private 
life of George Burns and Gracie Allen revolves around their 
adopted children. 

Presently these two youngsters came in with big, curious 



eyes, Sandra hugging a doll, Ronald 
carrying a teddy-bear. Both are fair 
and rather delicate. The girl is three- 
and-a-half years old, the boy two-and- 

"I'm trying to give them what I, 
myself, lacked as a child," George 
said with a grim look in his gray 
eyes. "I really should have been in 
that show, Dead End. Things were 
very tough for me when I was a kid. 
My dad, Lewis Burnbaum, was born in 
the old country. I don't know what 
country it was. I was just a baby when 
he died. Mother brought us up, five 
brothers and seven sisters. We had to 

fight the terrible environment of the lower East Side in New 

York, where I was born." 

CWATHED in an elegant dressing-gown, Gracie entered the 
^ library. She is Irish, with dark eyes and almost black hair. 
Her hands are small and very white. She is quiet, unassuming, 
and very feminine. She lets George do most of the talking 
during interviews. His is the dominant personality. 

We all went to the breakfast-room, cheery with the bright 
morning sunlight. Sandra climbed a chair. 

"Sit down, don't stand up like that," Gracie admonished her. 
"That's a good chair." It was a work of art with its floral 
designs. Everything in this home is of the finest. "Sit down 
and you'll get a nice piece of toast with jam on it." But Sandra, 
with the obstinacy of childhood, preferred to stand up on the 
chair she had climbed. "She is being very naughty, I don't 
love her at all this morning," Gracie told us in that piqued 
motherly voice. "Daddy doesn't love her either." Whereupon 
the sensitive Sandra burst into tears, and her parents in vain 
tried to pacify her. The nurse took her away. Ronnie watched 
the proceedings with astonished looks. 

"All my life I wanted to go into show business," George 
asserted, after a hearty sip of coffee. "I was the only one in my 
family who had that desire." [Continued on page 64] 


















livs Wit 



AS Motion Picture mentioned last 
month, this is a directory to end 
all wrong impressions about mar- 
riage in Hollywood. 
Most writers have approached 
marriage in the movie capital 
from one of two angles. The first 
premise is they can't succeed ; the 
second, they can. Invariably writers 
cite only the cases that "prove" the par- 
ticular points they wish to prove. But 
now we are facing facts for the first 
time. So let's look at the record — as 
recorded in black and white. 

This is the first time that a Who's 
Whose in Hollywood has been pre- 
sented in any magazine. It answers 
questions that you have been wondering 
about ever since Hollywood became the 
romantic capital of the world. And, 
being entertaining and illuminating, it 
is something you will want to keep as 
a reference. 

Did you know there are four hundred 
names in this Who's Whose? These 
names are not carefully culled to prove 
any particular case. This directory is 
concerned with Hollywood's Ranking 
Four Hundred — considered from the 
angles of their importance in pictures, 
the publicity they are given, and the fan 
mail they receive. 

By reading every item you can form 
your impressions of the success or non- 
success of the stars in their off-screen 

The first installment last month car- 
ried names from A to H inclusive. This 
second and final installment carries 
through from I to Z inclusive. When 
you reach the final entry, check your 
impressions of Hollywood marriages as 
a whole with the actual statistics com- 
piled from this directory. You will dis- 
cover that Hollywood has been slightly 
maligned. — Editor's Note. 

■*- several years the wife of writer Ben 
Ray Redman. 

JENKINS, ALLEN— Lives such a 
quiet married life that even his studio 
doesn't know his wife's name. 

JEPSON, HELEN — Listen for 
songs composed for her by George 
Possell. He is her husband. 

JESSEL, GEORGE— Divorced by 
Florence Courtney, October 24, 1932. 
Married Norma Talmadge April 23, 
1934, nine days after she divorced 
Joseph Schenk. 

JEWELL, ISABEL— Once had peo- 
ple guessing whether or not she was 
married to Lee Tracy. She wasn't. Now 
has them guessing about Owen Crump. 

JOLSON, AL — No. 1: Alma 
Osborne Carlton. No. 2 : Ethel Derman. 
No. 3 (since 1929) : Ruby Keeler. They 
have an adopted 2-year-old, Al, Jr. 

JONES, .ALLAN— F i r s t married 
very young and had son (now 10) by 
first wife whom he divorced July 25, 
1936. Next day he married Irene 
Hervey. They have just welcomed the 

JONES, BUCK— In a circus tent in 
Lima, O., August, 1915, married eques- 
trienne Odelle Osborne. They have a 
grown daughter, Maxine. 

JORY, VICTOR— Married to Jean 
Inness, who plays Ramona to his 
Alessandro in yearly Calfornia pageant. 
They have a small actress-daughter, 

JUDGE, ARLINE— Married Direc- 
tor Wesley Ruggles in 1931. Son born, 
1933. Divorced April 9, 1937. Five 
hours later, married Daniel Topping, 
wealthy sports promoter. Thinking of 

KARLOFF, BORIS— Twice mar- 
ried, once divorced. 

KEATING, FRED— Fancy-free, ex- 
cept when Patricia Ellis is in town. 

KEELER, RUBY— Has devoted 
most of her time since 1929 to Al Jolson. 
Her career has been a sideline. Has 
an adopted son, Al, Jr. 

KEITH, IAN— No. 1: Blanche 
Yurka. No. 2 : Ethel Clayton. No. 3 : 
Baroness Fern Andra. No. 4: Hilde- 
garde Pabst, heiress. 

KELLY, PATSY— Happy, though 
not married. 

KELLY, PAUL — Married to 
Dorothy Mackaye, actress-writer, who 
shared early tragedy with him. 



KENNEDY, EDGAR— D e s p i t e 
those "slow burns," married for years — 
to Patricia Allen. 

KENT, DOROTHEA — Married, 
but separated. 

KENT, ROBERT— See Astrid 

KIBBEE, GUY— M a r r i e d to 
Brownie Reed since 1930, and has two 

KING JOHN— "Engagement" ru- 
mors link him with socialite-actress 
Frances Robinson. 

KNOWLES, PATRIC— On the eve 
of coming to Hollywood, in 1936, he 
married Enid Percival, English actress. 
They have been honeymooning here 
since. Now expectant. 

KRUGER, OTTO— P roposedto 
Susan MacNamany the first time he met 
her and they've been married nearly 
twenty years. 

LA MAR, H ED Y— Separated from 
Fritz Mandl, multi-millionaire Austrian 
munitions maker, who is coming to try 
to dissuade her from divorce. 

LAMONT, MOLLY— Up in the 
clouds with aviator Eddie Bellande. 
Married March 30, 1937. 

Herbert Kay, orchestra leader, since 

LANDI, ELISSA— Divorced from 
John Lawrence, barrister, in 1934. Now 
periodically rumored engaged to Nino 

LANE, LOLA— Mrs. Lew Avres 
from 1931 to 1933. Mrs. Alex- 
ander Hall from 1934 to 1936. 

LANE, PRISCILLA— At this writ- 
ing, the press-agents report her "en- 
gaged" to Wayne Morris. 

LANE, ROSEMARY— There is no 
Only One as yet. 

LANG, JUNE — After tempestuous 
romance, married agent Victor Orsatti 
May 29, 1937. Soon after Hawaii 
honeymoon, he sued for divorce on 
grounds she wouldn't leave her mother. 
Nqw seen with millionaire A. C. Blu- 
menthal, with rumors of a marriage this 

ing everybody in suspense. 

ried the woman who founded The 
Children's Theatre, London : Elsa Lan- 
chester. She usually acts with him. 

LAUREL, STAN— Divorced from 
Lois Neilson. 1933. Married Mrs. Ruth 
Rogers, 1935. Divorced, 1937. Then 
a Mrs. Mae Laurel arose, claiming she 
was his common-law wife in 1916, ask- 
ing alimony. Case dismissed December 
6, 1937. Recently married Vera Inarova 
Shuvalova (Illiana) Russian dancer, 
after whirlwind courtship. 

eloped to Las Vegas with Margo, Oc- 
tober 16, 1937, Hollywood didn't know 
that he had been married before, to one 
Ada Nejedly, whom he divorced in 
Prague in 1935. 

LEEDS, ANDREA— Several boys 
are interested, but she's biding her time. 

Sir Robert Peel and has a son in his 

LIND, DELLA— Married to mu- 
sician Franz Steininger. 

LINDEN, ERIC— Supposed to have 
been heartbroken when Frances Dee 
married Joel McCrea. Now interested 
in Cecilia Parker. 

waiting for the One and Only. 

LLOYD, HAROLD— Happily mar- 
ried for years to his onetime leading 
lady, Mildred Davis. Children : Gloria, 
Peggy (adopted) and Harold, Jr. 

screen, he's usually married to Kathleen 
Lockhart. Off the screen, he has never 
been married to anyone else. 

LOGAN, ELLA — There are rumors 
of some Lochinvar soon to come out of 
the East and carry her away. 

William Powell in 1933, after two years 
of marriage. Rumored engaged to Russ 
Columbo just before his tragic death, 
September 2, 1934. Now the constant 
companion of Clark Gable. 

LORRE, PETER — Married to 
Cecilie Lvovsky, actress, since June 22, 

LOUISE, ANIT A— Once had 
puppy-love affair with Tom Brown. 
Romance rumors vague since. Palsy- 
walsy with Buddy Adler. 

LOWE, EDMUND— Married once, 
and divorced, before marrying Lilyan 
Tashman, who died March 21, 1934. In 
1935, married Rita Kaufman. 

LOY, MYRNA— After 3-year ro- 
mance married producer Arthur Horn- 
blow, Jr., June 28, 1936, in Ensenada, 
Mexico. He was previously divorced 
by Juliette Crosby. 












LUKAS, PAUL — Twice married. 
Present wife — Gizella Benes. 

LUPINO, IDA— Allegedly still trying 
to win mother's consent to marry Louis 

■*-*•*■ held record for long engagements — 
with agent Robert Ritchie. Engaged to 
Gene Raymond less than a year before she 
married him June 16, 1937. 

MACK, HELEN — Married Charles 
Irwin, middle-aged broker, February 13, 
1935. Son John Michael, born May, 1936. 
Divorced, October 26, 1937. Now seen 
with Lew Ayres. 

MACLANE, BARTON— No one seems 
to know when, where and if he has been 
married and he isn't telling. 

MACMURRAY, FRED— In pre-dawn 
ceremony in Las Vegas, June 20, 1936, 
married Lillian Lamont, New York model. 

MAGUIRE, MARY— Current rhumba 
partner of producer Joseph Schenck, 
whose ex- wife (Norma Talmadge) she 

MARCH, FREDRIC— M a r r i e d his 
leading lady, Florence Eldridge, in 1927. 
They have two children (both adopted) : 
Penelope and Anthony. 

MARGO — Her marriage to Francis 
Lederer is her first. 

MARSH, JOAN— Marrying writer 
Charles Belden when his divorce is final. 

MARSH, MARIAN— Engaged to 
broker Al Scott, Colleen Moore's ex. 

married to Mollie Maitland. In 1928 mar- 
ried his co-star, Edna Best, mother of twin 
sons by previous marriage. Daughter born 
May 25, 1933. Now separated, but not di- 
vorced. Supposed to have parted because 
of Gloria Swanson. Now seen with Lee 

MARTIN, TONY— See Alice Faye. 

MARTINI, NINO — Periodically ru- 
mored engaged to Elissa Landi. 

MARX BROTHERS— Chico has been 
married long enough to have a daughter, 
Maxine, on the stage. Groucho has been 
married since 1920. Harpo has been mar- 
ried to starlet Susan Fleming since Sep- 
tember, 1936. 

MASSEY, ILONA— Reporters haven't 
been able to reach Ilona yet. The studio 
denies any marriages, past or present. 
Meanwhile, her escorts are varied. 

MCCREA, JOEL— See Frances Dee. 

MCHUGH, FRANK— Proud husband 
of Dorothy Spencer, proud adopted father 
of her two children by previous mar- 
riage, now boastful parent of infant Mc- 

MCLAGLEN, VICTOR— M a r r i e d 
many years to Enid Lamont, daughter of 
English admiral. They have two children : 
Andrew and Sheila. 

MENJOU, ADOLPHE— D i v o r c e d 
from first wife in 1924. Married Kathryn 
Carver in 1928; divorced, August 14, 1933. 
Married Verree Teasdale August 25, 1934. 
They formally adopted baby, Peter 
Adolphe, September 28, 1937. 

actress Margaret Perry, who ran away 
from Hollywood in 1932 when critics 
panned her first picture. 

MERKEL, UNA— Her marriage to 
Ronald Burla is the secret of that happy 

MERMAN, ETHEL— Her answer still 
is "No." 

bridesmaid, never a bride. 

MILLAND, RAY— Hollywood discov- 
ered Ray, and he discovered Muriel Web- 
ber, at about the same time. They married 
in 1931. 

Hasn't been one-girl-minded since Lois 
Moran married someone else. 

ried to Elizabeth Allen (society girl, 
not actress). Lost their first child in 1931. 
Second born, 1933. 

MOORE, GRACE— The first time she 
saw Valentin Parera, Spanish actor, she 
said, "That's the man I'm going to marry." 
They recently celebrated their seventh an- 

MOORE, VICTOR— Married Emma 
Littlefield in 1902. After 14 childless years, 
they adopted boy, named him Victor, Jr., 
then had daughter Ora and son Robert. 
On their 32nd anniversary, while Victor 
Moore was a continent away, making a 
picture, Emma Moore died. 

MORGAN, FRANK— Long married to 
Alma Muller and has a grown son. 

MORGAN, RALPH— L o n g married 
and has an actress-daughter, Claudia. 

MORLEY, KAREN— Secretly married 
director Charles Vidor November 5, 1932. 
Son born August 26, 1933. 

MORRIS, CHESTER— Married since 
stage days to [C 'ontinued on page 79] 





Watch out Gable! 
Here are three new 
fan males whose in- 
creasing popularity is 
a threat to your 
security. Any one of 
these new heart- 
throbs — Bob Hope, 
Jon Hall or Wayne 
Morris — is an answer 
to a maiden's prayer 37 






%\ .- 



/ ! V 

Kay Francis has swept him off his feet 
and she'll do the same to you when she 
meets him at the altar in Women Are 
Like That in her sweeping wedding gown 
of white jersey embroidered in seed 
pearls. Men just follow her train when 
Kay dons (left) a white jersey dinner 
dress with gold chain girdle. But, men are 
like that! You'll turn green with envy 
when Kay appears (Women Are Like 
That) in this cinnamon brown cire after- 
noon dress, above. The narrow skirt has 
soft folds in front. And you'll see red, 
because you can't have one like it, when 
Kay wears (top) this two-piece after- 
noon frock of black and red sheer wool. 
The floral motif is accented in black 
wool with red sequins. Right, Kay 
wears a frock of wood brown, using 
[he satin and dull sides of the fabric,. 


Bette Davis, one of Hollywood's better, if not best, young actresses 
is no slouch when it comes to fashions either. Above, she wears 
a smart town costume of grey sheer wool. Bette, apparently, believes 
in preparedness, for over her arm she carries a tweed travel coat. 
For spectator sports wear (The Santa Anita track?) Bette selects a 
two-piece hand crocheted dress in a bright tangerine shade, upper 
left. Now that Bette has finished Jezebel and has time to relax and 
revel she steps out at night. For such occasions she prefers a black 
velvet gown with fitted bodice and a bolero jacket of cloth of gold 


We come back to Kay and Orry-Kelly fashions for Women Are 
Like That. Above, Kay wears a smart daytime frock of lustrous 
black crepe. The dress has a tailored collar, fitted waist, flared 
skirt and gold girdle. There's nothing smart like a fox so Kay 
Francis, upper right, wears a coat of brown broadcloth with three 
Cross Foxes set on at the front below the waistline. The slim lines 
distinguish this collarless coat. Brown and black still leads as a 
color combination for Spring, so right, Kay in a smart afternoon 
suit consisting of a simple black wool dress over which she wears 
a cape rich with Nutria and huge patch pockets. Women are like that! 

Water color backgrounds — not stage sets — are used in all films 250,000 separate drawings were traced by artists for Snow White 

FOR three years, more thaW 
hundred people had worked unM 
ingly on The Great ExperimfB| 
They had spent more than $1, 500,(10 
— a staggering sum, even in HolB 
wood. But now, finally, Sno\ 
White and the Seven Dwarfs was 1 
finished. The first feature-length ani- 
mated cartoon was actually on the screen. 
The picture that "didn't stand a chance." 
The morning after its premiere the 
department heads of Walt Disney Studio 
were gathered around "the boss" in his 
office. They weren't gathered to discuss 
the premiere. They were there to talk 
about the next experiment — a ten- 
minute cartoon with music by Leopold 
Stokowski and his Philharmonic Or- 

But they couldn't exactly ignore those 
clippings on Walt's desk — the reviews in 
the morning papers ; those telegrams 
from the biggest names in Hollywood ; 
those memos of congratulatory telephone 
messages about Snozv White. And the 
more they read, the more they grinned. 
Happily, proudly, and — a bit incredu- 

"Do they like it? Listen to this!" ex- 
claimed one, brandishing a wire from a 
critic, who prophesied that Snow White 
would still be going the rounds when 
the youngest child now alive was snow- 
white with age. 

"And are we lucky they like it!' 
claimed another. 

Walt Disney himself, telling m# about 
this scene later, said, "We're (■rtainly 



That sentiment 
have seen Snow 
victim to i 
_ artistr 
you h 
and h 
fancies o: 

seem, once BenTtyT 

you have seen its painstaking perfe 
Th^B entiment may puzzle you, un 
know Walt Disney and hq 

Id say." 
u, if you 
you have 
charm, it: 
§fully Dis#Ey 
picturj^fd a 
hildhood, and 

three hundred workers. Seeing it from 
the inside, you are amazed to discover 
that there are nearly seven hundred 
workers there. That Disney needs that 
many helpers. And that, even with that 
many, it takes six months to make one 
Mickey Mouse short. 

You don't get inside the Disney Studio 

just out of curiosity. You must have 

busine^^jn^^This is an enterprise that 

dej^ ideas, primarily, for its suc- 

ces Bkas are jealously 

But suppose you are privi- 

^shown, step by 

A is developed 

Hs a procedure, 

, far removed from most 

Hy complicated 

cedure, highly efficient, but — as hap- 

s the construction of 

udio itself. 

I^^WTrds "Walt L>^| 
Jfo'Xpu visualize ^smaller ve 
[the ckher studios miere movies 
I Bui you shouldn^k It is far 
mom Jny other studi^^^arre 
everS^/iocation. The sights^pfg 
that take tourists past "ai^he 

lever pass Walt Dis 
ie rteaten track— even as his^ 

It is 



is a 

Seeing u*fror 
suspect it of/ 

nothing like thl 
^rers very little al 

idows. It is ^ 
/0-story buil 

lousing more 

SCENARIOS are not written for a 

^ Disney picture; they are "talked," 

then drawn. Walt calls together his 

^ry directors — who are not the typical 

men to be found in the typical 

ledy studio; they are cartoonists with 

lory minds." They come prepared with 

Jdeas, all of them. They discuss 

sse pko and con, booing some, relishing 

finally deciding by vote (with 

faltsanetimes in the minority) which 

raea has the greatest possibilities. 

TheyJ^eak down this plot into situations 

sequences, divide them up among 

Te group. They go back to their respective 

desks and, with expert animators, work 

up rough sketches of proposed action. 

JThen they get together for another story 


stak es place in a big oblong room, 
three^^^^rf which look like the inner 
walls ofTWfc^lroom — except that, in 
place of blackrjHfctthere are burlap- 
covered bulletin bolfck. The rough 
sketches are thumb-taokd here. The 
group moves from sectior«ko section of 
the bulletin board, criticalM eyeing the 
yotr^SWHn't ^sketches, with the enthused Mgsters pan- 
than two or Romiminc their [Continucag>n page 62] 

Snow White dancing to the dwarfs' music offers a whimsical touch Fine fantasy. Snow White's forest pets help clean the dwarfs' hut 

A winsome menace to good navigation is 
Dorothy Moore, neat filler-outer of swim 
suits. Now will youse boys join the Navy? 



■ Cutest gift of the month, in Holly- 
wood, was the charm bracelet Dick 

Powell hung on wine Joan Blondell's 
wrist. In the charms which dangle from 
it is told the story of the Powell-Blondell 
romance and marriage . . . and the last 
charm in the parade is a tiny baby — with 
a question mark! 

Like You and Me 

■ First thing Carole Lombard turns to, 
when she picks up any newspaper, is 

the comic page. 


B Very first thing Fred Astaire likes 
to do when he gets home from any- 
where is take off his shoes. 

Names They'd Rather Do Without 

■ Brian Aherne prefers to forget his 
middle name, which is DeLacey. 

Just as irked as Wayne Morris about his 
own FULL name : Bertram De Wayne 
Morris. And that "H" in William H. 
Powell stands for o m i g a w d ! — 
"Horatio ... ! ! !" 

Caliban and Ariel (the John Barrymores 
to you) reunited, are as happy as a coupla 
doves. They may star together on stage 


I Up in arms are a growing group of 
filmland's younger players, against 
the ballyhooing of synthetic but phony 
"romances" by make-hay-while-the-sun- 
shines publicists. It's gotten so that a 
young movie actor can't even lift his hat 
to a young movie actress in Hollywood 
any more, but that press-agents begin 
hollering "Romance ! Romance ! Ro- 
mance !" 

And so, over at RKO, the younger 
contract players have organized a Pro- 
tective Association to combat this sort of 
thing. Listed on the membership are 
Frances Gifford, Cynthia Westlake, 
Crawford Weaver, Alan Bruce and Ida 
Vollmar. (For latest romance-news on 
Gifford, Westlake, Weaver, Bruce and 
Vollmar, turn to the Talkie Town Tat- 

Mamma 'pank 

■ Greatest delight of the New Year for 
Janie Withers' mama is that Janie 
has at last stopped biting her fingernails. 
Anita Louise and Olivia de Havilland 



Big-Hearted Stuff 

from Hollywood : — her heart bleed- 
ing for the trials and tribulations of sis- 
ter-Frenchwoman Annabella trying to 
learn the ins and outs and hows of Holly- 
wood, Simone Simon sent over her entire 
staff of Hollywood-trained household 
servants to Annabella, hired a new staff 
for her own menage ! 

His own romantic heart beating in 
sympathy with that of his stand-in who's 
in love, Francis Lederer does his own 
standing-in at 4 o'clock every afternoon, 
so that Stand-in Victor Sabour can go 
telephone the lady of his heart. 

Deeply appreciative of the eight years 
service of Lillian Rimbault as nursemaid 
for Peter, her eight-year-old boy, Con- 
stance Bennett is giving Lillian a six- 
weeks vacation in her native England, 
and is paying ALL expenses herself. 

Your Steak May Vanish 

■ If you ever go to Claire Trevor's 
house for dinner, don't be surprised ! 

Her cook was a professional magician for 
1 5 years ! 

Whitney Bourne, w. k. New York socialite, 
who made good in stage plays, is now making 
movies. Next? Broadway After Midnight 

"My!-How-Time-Flies!" note 

Hi Just a year ago, Edgar Bergen and 
Charlie McCarthy did their ventrilo- 
quist act at Los Angeles Paramount 
theatre. Edgar got a $260 check for the 
week's engagement. 

Just the other week, Eddie Bergen and 
Charlie McCarthy, now Hollywood's ace 
publicity-record holders, played the same 
theatre. This time, Bergen's check was 
$7,000 — and he smashed all the theatre's 
attendance records ... ! ! ! 

Which just goes to show what a dif- 
ference of twelve months can make ! 


■ On her birthday Deanna Durbin re- 
ceived 43 paintings and drawings of 

herself, in everything from pencil to oil, 
from her fans in this country and Canada. 

Certainly the Gravy 

■ It'd be okay with Joan Crawford if 
they'd dispense with forks entirely. 

She prefers to eat everything with a 

Gary Cooper (among actors) Claudette 
Colbert (among actresses) now co-star- 
ring in Bluebeard's Eighth Wife, are 
highest paid in U. S. Ask Uncle Sam 

A snappy number in a snappy outfit 
— that's Lana (Swell-Figure) Turner 
who swings on a garden gate, waiting 
around patiently for her favorite DATE 

More About Names 

■ Ethel Merman's papa is proud 
of her success in radio and 

screen. But there's a fly in the oint- 
ment of his pride. You see, papa's 
name is Edward Zimmerman, and 
he's an accountant in a New York 
wholesale house. And he thinks it's 
too bad that Ethel had to lop off the 
first syllable of the family name, to 
get by ! 

Plagued by m e m o r y-invoking 
names is Bill Powell. It wasn't until 
just before he went to work that 
20th Century-Fox bigshots changed 
the name of his current film from 
Jean to The Baroness and the Butler. 
Then it was discovered that one of 
the crew of the picture is named 
Harlow. And now it's realized that 
the last name of Annabella, the 
French star who plays opposite Bill, 
is the same as was Jean Harlow's 
real name — Carpenter ! With an "i" 
added, French style. 

Putting "English" On It 

■ Olivia de Havilland is an "En- 
glish-style" eater. She uses her 

fork exclusively with her left 

Priscilla Lane, Wayne Morris* lambie 
pie, went skiing at Lake Arrowhead after 
completing Everybody Was Very Nice 

Typical of the "most beautiful" chorus 
in Hollywood are nifties Marjorie Deane- 
Lynne Berkeley of The Goldwyn Follies 

You'll muchee likee China's daughter, 
Anna May Wong, in Daughter of Shang- 
hai. No likee to livee in Shanghai NOW 

Labor Gives to Capital 

■ Oddest birthday present of the month 
was what Peter Lorre's chauffeur 

gave Peter. Chauffeur is George Daniels, 
colored. Gift was a document, vivid with 
ribbons and seals, legally phrased, giv- 
ing Lorre an option on George's chauf- 
feuring services for life. George has 
been Peter's chauffeur-valet-secretary 
for over three years now. 

Noivy Nute 

■ Nerviest Fan-Letter of the Month : 
— to Richard Arlen, from a man in 

Illinois, a letter demanding that Arlen 
send on all his extra furniture, because 
the man's building an apartment house 
and wants to furnish it ! 

Sonja's Male Stand-in 

I Unique in Hollywood is S o n j a 
Henie. All the other glamor girls 
have lovely glamorish stand-ins. But 
Sonja's stand-in is a man ! His name's 
Bert Clark — and when Sonja is making 
a picture, Bert has to don clothes like hers, 
and do her stuff — and that's where the 
catch comes in. You see, Sonja's stand- 
in has to be capable of doing the ice- 
skating tricks Sonja does — and in all 
Hollywood, they couldn't find a gal for 
the job. So they hired Bert as the only 
male stand-in for a female player — and 
while Sonja rests as lights and cameras 
are set up, Bert goes through her routine 
to assure that when Sonja steps out, 
they'll get the best angle on her. Sonja's 
legs are neater. 

Peterpannish Anna Neagle, who gave a 
command performance of Peter Pan for 
King George, stars in Look Out for Love 


Like His Old-Time Self 

■ Bill Powell is slowly but surely com- 
ing out of the blackness of despon- 
dency and "I-don't-care-ness" which rode 
him for months after the death of Jean 
Harlow. Surest sign of his return to an 
approximation of his old-time self is the 
series of gags Myrna Loy has inveigled 
him into — 

Latest gag-exchange between la Loy 
and the Bill came when Powell, scanning 
the annual box-office returns and finding 
Myrna at the top on the gal's division and 
himself fourth in the men's sent her an 
elaborate scroll of congratulations, signed 
"William the Fourth." Myrna snapped 
right into it, sent two raspberries 
mounted on a silver cushion over to 
Powell's house by a messenger garbed, 
head to toe, as the real William IV. 

Since then, neither is safe from the 
other. And happiest people in Hollywood 
are Bill Powell's friends, to realize that 
he's coming back from the depths. 

To Catch the Gravy 

■ No. 1 Napkin-T u c k e r-Inner of 
Hollywood is Wally Beery. He pre- 
fers it in his collar instead of his lap. 

Exercising to Exercise 

■ Peter Lorre decided he needs exer- 
cise. He ordered a pair of dumbells. 

"Heavy ones," he commanded. When he 
got 'em, he found he couldn't lift 'em — 
150 pounds each. Now he's taking exer- 
cises to get in trim to exercise with the 

Sigrid Gurie, than whom there is no 
whomer for beauty in all Norway, relaxes 
at the beach after debuting in Marco Polo 



Hungary's fairest, Ilona Massey, is 
opening Hollywood's eyes with her 
beauty, which you noticed in Rosalie 

You'll Take Vanilla 

I Latest dissipation of Mary 
Astor is a fiendish drink she 
guzzles on the set. It's one part of 
thick cream to three parts of ginger 
ale ! — to keep her weight up. 

Waiting For Baby 

■ Warner Brothers figure Henry 
Fonda's baby has cost them well 
over $7,000 . . . ! You see, despite 
their best efforts to speed production, 
it was impossible to finish shooting 
in time for Henry to rush East to be 
with Mrs. Fonda to greet the stork. 
So when Henry did go, the studio 
had to sign up the cast on new agree- 
ments for the remaining scenes when 
Henry returned, keep sets standing, 
and all that sort of thing. Accoun- 
tants put the figure of losses at the 
$7,000-plus mark. 

Shanghai Gesture 

I Giggle-of-the-month in Holly- 
wood is over the gag about 
Anna May Wong's moving out of 
her apartment. Seems Anna May 
Wong is a patriotic Chinese gal. And 
her apartment overlooked a Japanese 
garden ! [Continued on page 89] 


» S,-- 


Open caption to Garbo: Mary Maguire 
has smallest feet in Hollywood. Has 
dater-uppers eating out of her hand 


ft l ,fM. 


Practicing up their yip-ees at B-Bar-H 
Ranch near Palm Springs ar,e "cowhands" 
Fay Wray, Anita Louise, Jimmy Ellisons 

HOLLYWOOD has heard— and 
embraced — in its day a good many 
formulas for success, but for all of 
that I think Walter Pidgeon has 
a new one. . . . Yes, meaning 
that tall, handsome, Irish-looking 
chap who was Jean Harlow's 
fiance in Saratoga and who since then 
has kept on ringing the gong or scoring 
a bull's eye or however you want to say 
it in such pictures as My Dear Miss 
Aldrich, Man-Proof and Girl of the 
Golden West. 

Walter simply — and in a nice way — 
doesn't give a darn. Struggle ? Worry ? 
Lose sleep when some columnist spells 
his name wrong or fails to spell it at all ? 
Chew his fingernails wondering whether 
this or that contract will be renewed ? 
Walter grins that Irish grin of his and 
can't be bothered. He never has been 
bothered. He is quite sure he never will 
be. Success is swell, of course, but to 
miss out on it needn't be fatal, he 
holds. . . . With the result that Dame 
Fortune, perverse after the fashion of 
women, has contrived to treat him right 
kindly, and even his darkest clouds have 
had their silver linings. 

Take, for instance, that time in 1930 
when he was brought to Hollywood by 




a certain studio to sta,r in a series of 
four color musicals, and all four pictures 
flopped. Quite a jojt, that, because 
Walter flopped with them. 

"My name was certainly mud in this 
town,'' he told me at M-G-M one day 
when I was visiting the Girl of the 
Golden West set. Not that he looked 
it. He was all dressed up as an early 
California sheriff — side-burns, ten- 
gallon hat, boots, chaps and what-have- 
you, and to my admiring eye he pre- 
sented a fine figure of a man. Very 
fine. . . . But this was almost 1938 
and he was talking about "time 
was . . ." 

"Of course," he explained, "I console 
myself by blaming my unpopularity on 
color which was in its infancy then, as 
you may remember. The films used to 
look all right at first, but with every 
showing they would get scratched until 
the entire cast was almost unrecog- 
nizable. I remember one that made me 
look as if I had the measles, which didn't 
especially fit in with the romantic role 
I was supposed to be playing." 

The result was that Walter, measle- 
less though he actually was, couldn't get 
a role in Hollywood for love nor money ; 
couldn't even get a bit. 

SO WHAT did you do?" I asked 
him, picturing him starving in a 
garret or standing in a breadline 
until one of those famous Holly- 
wood "breaks" came along. But — 
"Oh, I went to Eu- 
rope," he said carelessly. 
Yes, he actually went 
to Europe and not as a 
stowaway, either. Be- 
cause that is another 
thing about Walter 
Pidgeon which makes 
him different from a lot 
of people out here. He 
saves his money. He 
saves a certain part of 
every pay-check and 
always has. So, of 
course, he had enough 
money to take him to 
Europe. He even had 
enough to pay for sing- 
ing lessons in Milan. 
Knowing him as I do, I 
can only say to that : 
He would. 

He stayed in Europe 

a year, caring not a jot 

about those color flops, 

and when he came back his name was no 

longer mud, at least not in New York, 

and he was [Continued on page 72 ] 



ON'T be a copy cat!" 
This advice comes from 
Claudette Colbert, lovely 
dark-eyed star of Para- 
mount Pictures who is 
soon to be seen in Blue- 
beard's Eighth Wife. 
"I know," she went on, "that 
that statement is anything but 
original. Still, I do think it 
the most important beauty rule 
any girl can follow. Holly- 
wood is full of girls who try to 
look exactly like Garbo and 
Ginger Rogers and all the other 
stars. And what does it get 
them? A job as a waitress in 
— if they're lucky — some ren- 
dezvous of the real stars. And 
they'll probably never get 
noticed by any big director be- 
cause they're just like a million 
and one would-be Garbos and 

I quite agreed with Claudette 
that the world was a wee bit 
too full of blondes trying to get 
places on someone else's looks. 
But what, I wanted to know, 

After reading this article 
you will agree that Claudette 
Colbert is Tovarich to you 



what was a poor gal to do if she wanted to be beautiful, and 
make the most of her looks? 

"Do just that," and she gestured prettily with an ex- 
pressive French hand, "Make the most of her looks. Stop 
trying to look like the other people. Be herself. Make the 
most of her individuality, and be confident of her own love- 

Claudette went on to say that she didn't mean you shouldn't 
take a tip or two from someone lovely in order to make your- 
self lovelier. She thinks that any clever girl will keep an open 
eye for beauty, and whenever she sees someone smart, look her 
over for tricks that she might adapt to herself. But that, she 
explained very carefully, wasn't really copying. When you 
take a tip from someone, and change it a bit to suit yourself, 
you're creating some new beauty for the world. 

The lady has something there. Take hairstyles for example. 
The first girl who wore the page boy bob got herself noticed — 
so well, in fact, that everyone else began to wear the long, turned- 
under roll. And now the page boy bob has become so common 

that it's the girl who doesn't wear it who gets on the front page 
these days. 

Claudette herself has never gone berserk over changes in 
styles. Long ago she learned that bangs became her, and bangs 
it has been ever since. She had made certain concessions to 
fashion, or, in a costume picture, to historical requirements, 
inserting a wave here for one, winding a braid around her head 
for another, fluffing up the bangs now, brushing them down 
flat next. Just now, a saucy curl tilted up at the end of the 
bangs is the only notice she takes of the new up-swing hair 
movement. Bangs again. For who can imagine Claudette 
Colbert without them? 

Claudette's face is different from most faces, and she makes 
the most of that difference. Her forehead is naturally low, 
so she obscures it almost entirely by wearing soft thick bangs 
to within half an inch of her eyebrows. She waves her hair 
softly away from her rounded, but high cheek bones, revealing 
them in all their glory. And because her neck is not very 
long, she keeps her hair fairly short [Continued on page 69] 


Bolger was a Broad- 
way favorite for sev- 
eral seasons because 
of his sensational 
dancing. M-G-M 
talent scouts signed 
him for The Great 
Ziegfeld and Rosalie 



RAY BOLGER, dancer, is taking an 
awful beating from Ray Bolger, 
actor, these days — and both seem 
to be very happy about it. 
All his life Ray Bolger has 
wanted to be an actor. He started 
his theatrical career as an actor. 
He achieved his greatest success as a 
dancer. It was while he was making 
a sensational hit as a dancer in On 
Your Toes, (The Broadway musical) 
that M-G-M signed him for a Hollywood 

In The Great Ziegfeld, his first pic- 
ture, he danced his way into the motion 
picture audience's attention. 

But in Rosalie, which he recently com- 
pleted he does more acting than dancing. 
And that makes him very happy. He 
sees ahead a whole new future — as an 
actor, despite the fact that he is 
known as one of the best dancers 
in show business. 

"I consider my part in Rosalie 
the first important part I ever 
played in pictures," he says seri- 
ously. "In playing Nelson Eddy's 
buddy at West Point I realized 





you could make the guy look good or 
bad. It was a terribly important role 
in that respect. I hope I made him look 

"Before I went into that picture, I 
hadn't had to worry about acting prob- 
lems for nearly ten years. All the in- 
tervening time was just one big hoof 
and mouth epic. I did the hoofing and 
there were always a couple of singers 
to do the mouthing. 

Bolger owed his selection for the 
Rosalie part, he admits, to William 
Anthony McGuire, author and producer. 
Years ago when McGuire, then with 
Ziegfeld, tried to get him to hire Bolger, 
the great glorifier voted thumbs down. 
Still sold on Bolger, McGuire met 
him on the M-G-M lot last year. When 
he found the dancing comedian had just 
been signed by the studio, he im- 
mediately ordered a part especially 
for him in The Great Ziegfeld. 

From this picture McGuire, 
more than ever sold on Bolger 
moved him into Rosalie and the 
part he considers his most import- 
ant [Continued on page 61] 

r A cleansing 
cream that also 
nourishes the 
skin is a great 
achievement " 

Mrs. Arthur Richardson 


NEW KIND of cream is bringing 
more direct help to women's skin. It 
is bringing to their aid the vitamin 
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tissue — the important "skin-vitamin." 
Within recent years doctors have learned 
that one of the vitamins has a special rela- 
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Essential to Skin Health 

Pond's tested this "skin-vitamin" in Pond's 
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But when Pond's Cold Cream containing 
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Now women everywhere are enjoying the 
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Granddaughter of the late C. OLIVER ISELIN 

"I am delighted with the new Pond's Cold Cream. Now that we 
can have the benefits of the 'skin-vitamin' in Pond's Cold Cream, 
I wonder how women were ever satisfied to use cleansing creams 
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all, that the use of this cream gives a live- 
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Use Pond's new "skin-vitamin" Cold 
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Same jars, same labels, same price 

Now every jar of Pond's Cold Cream you buy 
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same labels, at the same price. 


(above) Entertaining in the white draw- 
ing room of her New York apartment. 
(center) Mrs. Richardson greeting 
friends after the opera. 


' Pond's, Dept. 6-CR, Clinton. Conn. 

Rush special tube of Pond's "skin-vitamin" Cold 
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Tune in on "THOSE WE LOVE," Pond's Program, Tuesdays, 8:00 P. M., E.S.T., N.B.C. Blue Network 

When Answering Advertisements, Please Mention April MOTION PICTURE 



Copyright, 1938. Pond's Extract Company 


"be quiet" 


dad-, beqourself 

DOCTORS know that severe periodic 
functional pain is not natural to most 
women. For thousands more, science has 
found a way to make it unnecessary. Yet 
many women still go on letting the calen- 
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$15 Prize Letter 

A T 

Charles Boyer 

I LAST Charles 
Boyer has won his 
rightful place in the 
Hollywood sun as a 
richly talented actor, 
not as a matinee idol of 
rare Continental charm. 
After being miscast so 
long it is gratifying to 
learn producers have 
recognized his versa- 
tility by giving him two 
roles worthy of his 
talent. His sincere portrayal of Napoleon in 
Conquest made that famous general more 
real and human to us than all the books 
written about him could do. And in 
Tovarich he revealed a talent for comedy 
that was as brilliant as his mastery of 
drama. Given the chance, Charles Boyer 
has shown that he's more than a provocative 
personality. He's proven himself a dis- 
tinguished actor. May Hollywood not let 
him down again. — Floyd Miller, 320 Col- 
lins Ave., Pittsburgh, Pa. 

$10 Prize Letter 

I RAISE my voice in a strong protest 
against one outstanding fault of some of 
our so-called best pictures, and that is the 
lengthening of these pictures so 
that they run longer than they 
should. A recent example of 
what I mean was Rosalie. Had 
this picture been shortened 
fifteen or twenty minutes, it 
would have improved it greatly. 
The "stuffing" of this picture 
was so unnecessary as to make 
it boring and uninteresting. 
Personally, I was tired of it 
many minutes before, it ended 
and to me a fine picture, starring 
two bright personalities, was 
spoiled by the producer stretch- 
ing it like an elastic band. I 
hope that Rosalie is not a forerunner of what 
we are to expect for the next twelve months. 
If it is we're in for some tiresome pro- 
ductions. — Maybclle E. Karr, 844 Rcinhard 
Ave., Columbus, Ohio. 

$5 Prize Letter 

1HAVE always said that Kay Francis is 
the most miscast star in pictures. And 
after seeing First Lady I repeat it again. 
Kay's all right, she's a good actress. White 
Angel and One Way 
Passage — incidentally 
the only two good pic- 
tures she's ever had — 
proved it. But, she's no 
comedienne as they tried 
to make out of her in 
First Lady. Why, the 
whole supporting cast 
walked away with the 
picture. How Miss 
Francis has held public Kay Francis 

favor for so many years 
with such a succession of bad parts is an 
enigma to me. But it must be something, 
something we remember from One Way 
Passage and have never seen again. It's a 
shame Hollywood has to go to Europe for 
its importations and comb the market for 
top-notch stories for them when it has stars 
like Kay Francis, capable, brilliant, charm- 
ing, who are dying on the vine because of 
miscasting. — C. L. Mersich, 1708 Filbert St., 
San Francisco, Calif. 

$1 Prize Letter 

WRITING this is a "must" for me 
after having seen Oscar Homolka in 
Ebbtide. The reviews of this picture pre- 
pared me for a practically perfect perform- 
ance, but none of their superla- 
tives were too strong. Indeed, 
I wonder if they were strong 
enough. Never in all my movie- 
going life have I so thoroughly 
enjoyed and admired and thrilled 
to an actor. Mr. Homolka is 
the supreme artist, in that he 
doesn't appear to be acting. His 
portrayal of the Captain was 
so convincing, he was the char- 
acter he represented. Much as 
I like Frances Farmer, it was 
Mr. Homolka who moved me, 
who made his feelings mine, for 
the time being, who from the 
first had my sympathies and for whom my 
tears flowed and my laugh rang out. Please 
let us see lots more of this superb, unique 
actor. — Mrs. Enid W. Young, 106 Washing- 
ton Ave., Colonial Heights, Petersburg, Va. 



Your opinions on movie plays and players may win money for you! Three 
prizes — $15, $10 and $5 — with $1 each for additional letters printed — are 
awarded every month for the best letters received. In case of a tie, 
duplicate prizes will be awarded. And remember: no letter over one 
hundred and fifty words in length will be considered! Address your entries 
to Letter Page, MOTION PICTURE, 1501 Broadway, New York City. 


Accept No Substitutes! Always Insist ox the Advertised Brand! 

$1 Prize Letter 

IT IS said that Hollywood is fearful lest 
candid camera shots debunk the glamour 
of their stars. As far as I am concerned, 
the more candid the better. A candid shot 
of Bette Davis in the process of transport- 
ing a morsel of food from a fork into her 
widely opened mouth is fascinating and 
likewise a shot of Mary Pickford un- 
ceremoniously licking a bit of food from her 
thumb (even as you and I) intrigues._ The 
recent pictures of Robert Taylor depicting 
him with a healthy growth of beard and 
about to apply one of those bull-headed 
matches to a cigarette dangling between his 
lips is far more interesting than all the 
"pretty boy" publicity. Candid pictures 
show us the stars are real flesh and blood 
people who aren't always in beautiful poses 
and who do the same things we do in the 
same way we do. — Leonard Beeghley, 17 
Main St., Jane Lezv, W. Va. 


$1 Prize Letter 

WITH the constant stream of adverse 
criticism heaped on the practice of 
double-feature programs, may I rise in their 
defense ? And why ? Because while they 
may bore a certain group of people to death, 
and mean more money out of the pockets of 
the exhibitors, nevertheless they do enable 
people like myself — working-folk on a 
limited entertainment budget — to see the 
latest pictures reasonably. I can't afford to 
pay 75c to go downtown and see Eddie 
Cantor, Irene Dunne, Colbert, Lombard or 
Joan Crawford at the first showing of their 
pictures, but I know that if I bide my time 
and am patient for a couple of weeks, I can 
see two pictures that I've wanted to see for 
less than it would have cost me to see one 
in a major house. And believe me when I 
say that means a good deal in these times 
of economic stress. Good entertainment 
keeps up my morale. — M. M. Bradford, 6146 
Kcnzvood Ave., Chicago, III. 

$1 Prize Letter 

I DON'T agree at all with one of your 
letter writers in the February Prize 
Letters. And that is the writer who panned 
Eddie Cantor for his satire in AH Baba Goes 
To Town. I don't see how anyone — and I'm 
a New-Dealer — could take exception to it. 
It was certainly clever and timely and I, 
ike thousands of others, enjoyed it tre- 
mendously. And the fellow today who can't 
'alee it is a poor sport indeed. My hat is 
always off to Eddie Cantor for he's one 
comedian that I can always count on to 
r urnish me with fun and laughs galore. And 
Ali Baba Goes To Town was certainly no 
exception. And, please note, I don't live in 
Maine or Vermont so my remarks can't be 
classified as "sour grapes." — 7?. IV. Carr, 
1016 17th St., Parkersburg, W. Va. 


TO PAGE 68. 


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who gives the answers to who's who and what's what in Hollywood 

Q. How many players over the age of 
fifty are registered with Central Casting? 

A. There are four thousand men and 
women over that age waiting around for 
extra calls. Five hundred of them are over 

Q. How old is Alice Faye, what is her 
nationality, where was 
she born? And will you 
answer the same questions 
about Tony Martin? 

A. Alice Faye was born 
May 5, 1915; she is Irish 
and French; she was born 
in New York City. Tony 
Martin is about 27, is 
American and was born 
in San Francisco. 

O. How much do those 
box lunches, served when 
a movie company goes on 
location, cost the extras? 

A. The extras don't 
pay for them. The studio 
always supplies all meals 
when a company is on 
location. Samuel Gold- 
wyn, by the way, paid for 
19,283 meals for extras 
during three weeks of lo- 
cation for The Adven- 
tures of Marco Polo com- 
pany. The meals cost 
about one dollar each. 

Q. Where can I get the 
words to the song Dick 
Powell sang, We'reWork- 
ing Our Way Through 

A. Harms, incorpo- 
rated, publishes the song. 

Alice Faye is a combination 
of Irish and French and was 
born in New York in 1915 

Q. How big was the island set in Hur- 
ricane ? 

A. It was enormous. The "island" covered 
exactly two acres, and was built on the back 
lot of the Goldwyn studio, almost in the 
heart of Hollywood. The lagoon, which 
covered an acre of territory, was pumped 
full with 981,250 gallons of Hollywood 
water, and the sides and 
bottom were cemented. 
The water was clarified 
by special chemical pro- 
cess to that beautiful 
transparency and, of 
course, thoroughly and 
continuously disinfected. 
Wind machines daily 
whipped the water to give 
it healthy circulation and 
keep it fresh. The trading 
schooner seen riding at 
anchor on the lagoon is 
really only two-thirds of 
a boat, the stern having 
been sacrificed in the in- 
terests of space conserva- 
tion, but the 18 outrigger 
canoes are all practical 
and were brought from 
Samoa. There isn't a 
single nail in them. The 
coconut palms, which 
could fool even the most 
observing Polynesian, are 
synthetic and were made 
right here in Holly- 

Q. Where and for how 
much can I purchase still 
pictures from movies? 

A. Write to the studio 
concerned. Stills cost 
about twenty-five cents 
each. These are eight by 
ten. Larger ones, of 
course, cost more. 

Q. How many fan letters does Deanna 
Durbin get each week? 

A. Seven thousand admirers write each 
week to this charming little singing star, 
which is more than even Mary Pickford got 
at the height of her popularity. 

Q. When- is Clark 
Cable's birthday and where should his fan 
mail be addressed? 

A. His birthday is February 1, and fan 
mail should be addressed care of the Metro- 
Goldwyn-Mayer studios, Culver City, Cali- 

Accept No Substitutes! Always Insist on the; Advertised Brand! 

"I'm Afraid of Marriage" 

[Continued from page 21] 

from every scented hanger." And Roz said : 
"I'd sell it all tomorrow and everything in 
it. I don't want to own anything I can't put 
on the Chief !" 

I had, I told her then, some little rumors 
to run to earth . . . "what is all this I hear 
about you, so recently made a star, soon to 
be altar-bound with Jimmy Stewart? Ex- 
plain that away . . . and then there have been 
repercussions of other romances, of proffered 
hearts and of a Rosalind, matrimonially- 

"Rumors, nothing but 
ridiculous as such silly 

"/ am afraid of mar- 

Rosalind said: 
rumors. And as 
things often are." 

Then, suddenly 
riage," said Rosalind. 

Now, the words "I am afraid" sit 
strangely on the challenging Russell lips. 
For Rosalind has never known fear of any 
kind, she told me. She flies back and forth 
between New York and Hollywood in all 
kinds of weather. She once flew in a raging 
blizzard, ceiling zero, and while all the other 
passengers cringed and caterwauled she felt 
like yelling "Yip-ee !" And did. 

There are a few people who really know 
her and so are without surprise at her antics. 
Her family, her brothers, James and George 
and John, "her sisters, Clara (nicknamed The 
Duchess), Mary Jane .... they remember 
Roz. The Hotchkiss family remembers her ; 
the Walsh family, neighbors in Waterbury, 
Connecticut, when "the Russell children" 
were youngsters . . . they remember the raids 
on the Walsh cherry orchard . . . they can 
tell how, at least twice a month Rosalind's 
mother phoned Rosalind's father to say 
"please, James, send the carpenter to the 
Walsh home, Rosalind has broken one of 
their windows again . . ." 

Yes, there are such as these, old friends, 
members of the family who can tell you that 
the pulse of Rosalind always beat passion- 
ately with love of life and laughter and . . . 
Make-Believe . . . Timidities are taboos in 
her creed. She drives alone, in the dead of 
night. She fears neither conventions nor 
hard work nor anything save failure and, 
especially, failure in marriage, failure in 

SHE was saying : "I am afraid of mar- 
riage because I am afraid of failure. I'm 
deathly afraid of failure where marriage is 
concerned. And I'm afraid, not of love, but 
of the possible failure of love. I'm still the 
little girl from Waterbury, Connecticut, I 
guess, who believes that marriage is a matter 
of 'until death do us part.' It isn't that I 
don't believe in marriage. With my mother 
and father as exemplars of what marriage 
can be that would be ridiculous. 

"A year ago I thought that I would marry 
and give up my career, leave Hollywood and 
pictures forever. I was actually making my 
plans. But that," said Rosalind, very quietly 
now, "was a year ago. Times have changed. 
Time has marched on. / have changed. And 
whereas I thought, then, that my world of 
the stage and screen might be well lost for 
love, I feel differently now. Very." 

It is when you speak to Rosalind of love 
that the riddle of her personality seems not 
so easily solvable as you might have thought. 
For when she speaks of love the 'gamine' in 
her eyes slinks away, defeated ; a veil is 
drawn and though Rosalind speaks with her 
habitual frankness, she speaks zvithout 

And so we agreed that the marriage prob- 
[Continued on page 57] 


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When Answering Advertisements, Please Mention April MOTION PICTURE 



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4£f MEN lie lii 11 
the STAR' 

Director of "Stage Door" 

GREGORY LA CAVA, the rugged in- 
dividualist of Hollywood — who won't 
make a picture unless he is "sold" on 
the story — with himself as sole boss, was 
born in Towanda, Pa. In early boyhood he 
revealed artistic tendencies, and later in 
high-school at Rochester, N. Y., developed 
with brush and pencil. Saving his money 
as a newspaper reporter he studied art in 
a Chicago art school, thence through the 
Arts Students League and the National 
Academy of Design in New York. In his 
formative years he became a cartoonist and 
gained a national reputation with the World 
and Herald. 

La Cava was a pioneer in animated car- 
toons and drew some of the first Mutt and 
Jeffs. He wrote and directed some early 
Johnny Hines comedies so successfully that 
he became a Paramount director in 1920, 
first directing W. C. Fields. He insists on 
directing a picture 
in his own peculiar 
way, yet he turns 
out nothing but 
"hit" picture s — 
usually on sched- 
ule and under the 
budget. His work- 
ing crews and play- 
ers swear by him. 
Among these "hit" 
pictures are Gallant 
Lady, The Affairs 
of Cellini, Private 
Worlds, She Mar- 
ried Her Boss, My 
Man Godfrey — and 
just recently, Stage 
Door. The New 
York movie critics 
in a recent vote 
honored La Cava 
as the best director 
of the year with his Stage Door. 

We said the players swear by him. 
Lombard and Colbert call him "the answer 
to an actress' prayer." Bill Powell and 
Menjou credit him with aiding their out- 
standing performances. As for Hepburn 
and Ginger Rogers, neither star had worked 
with him before — and both were anxious 
for the experience. La Cava, not only had 
these two stars to direct in Stage Door, 
but he also had fifteen other girls— and 

And he had nerve enough to make one of 
the best pictures of 1937 — without a ro- 
mantic leading man or a love story. 

Gregory La Cava is a great kidder. Fol- 
lowing his custom of giving a party on the 
set after completing a picture he invited the 
entire working crew, players, executives and 
a few friends on the set of Stage Door. The 

Every star learns something from Greg 
La Cava. Katharine Hepburn and Ginger 
Rogers in Stage Door were no exceptions 

piece de resistance was his valedictorian 
address tossed at the startled company over 
the "playback" while he hid high above the 
stage to watch the reactions of his victims. 
He satirized and lampooned their personal 
eccentricities unmercifully — but it was done 
in good fun — and the players loved it. 

HERE is what Katharine Hepburn has 
to say about Gregory La Cava. "For 
five years I have wanted to make a picture 
with Gregory. I admire and respect his 
mental gifts as well as his ability as a 
director. And he doesn't pull his punches." 
She admitted that she got along angelically 
with him. She admits having arguments 
but expected them with such a keen mind 
as Gregory — because one always learns 
something. Other players agree with Miss 
La Cava thinks and acts in a positive 
manner. In hand- 
1 i n g contrasting 
temperaments he is 
very much the psy- 
chologist. He an- 
alyzes the players, 
studies their char- 
acters, tries to 
understand their 
foibles and to get 
on with them ac- 
c o r d i n g 1 y. As 
Hepburn says : "He 
knows how to make 
us b e h a v e — and 
knows how to get 
the best out of us 
because he knows 
when to talk and 
when not to talk. 
In appreciation of 
his sympathy and 
understanding one 
'gives'." W. C. Fields is willing to concede 
that La Cava has the finest comedy mind 
in pictures, next to his own. 

When La Cava had finished Stage Door he 
said : "From now on I am going to direct 
pictures with only little boys in the cast. 
At this moment, even the rustle of a skirt 
sends me into hysterics." 

Greg La Cava is gray-haired and soft- 
spoken. He can be iron-fisted in getting 
what he wants. It is said that he enjoys 
more liberty and authority on the set than 
other high-ranking directors. Yet at the 
same time he is the epitome of kindness. He 
demands rigid discipline and obedience — but 
is not a stern taskmaster. His aim is to 
make his pictures as near perfect as possible. 
His Stage Door and his last half-dozen pic- 
tures have fallen into the million dollar 
class, yet he never goes overboard on the 
budget. And he brings them in on schedule. 


Accept No Substitutes! Always Insist on the Advertised Brand! 

"I'm Afraid of Marriage" 

[Continued from page 55] 

lem is, undoubtedly, the most serious problem 
the Hollywood stars have to face. More 
especially when the star is a woman. For 
however right in its personal equation her 
marriage may be, when she tries to tie her 
marriage to her career she falls, as it were, 
between the sickle and the scythe. 

So many of the girls have said to me, such 
girls as Olivia de Havilland, Anita Louise, 
Cecilia Parker, Eleanor Powell ; "whom 
shall I marry?" They have lamented : "we 
don't want to marry actors. But we don't 
get to meet nice, marriageable American men 
in other walks of life. And when we do 
they are afraid of us, matrimonially speak- 
ing. They don't want to be known as Mister 
Greta Garbo. They dislike the idea of their 
wives earning more than they do. So, they 
just take us out and then step out and marry 
—The Girl Back Home." 

ROSALIND was saying: "It is very 
difficult in this business, marriage. The 
risk is more than trebled here in Hollywood. 
And it's so important to me, so sacred, that 
I am more than ordinarily scared of it. I 
can't imagine one of those they-met-at-the- 
night marriages. I can't imagine marrying 
with the mental reservation that if it doesn't 
work there's always Reno — 

"Yes, difficult — for if I should marry a 
man in the profession it would be a case of 
our home, a hotel, both of us dashing in and 
out at odd moments, meeting in the foyer 
now and again, saying 'nice-to-see-you-dear- 
how-were-the-rushes ?' or something of the 
unsatisfactory sort. 

"If I should marry a man out of the pro- 
fession he would either ask me to give up 
my career which I WOULD NOT DO 
or he would have to take the short end of 
marriage. There are so many dangers in 
Hollywood marriages . . . there is the 
danger of jealousy. And there's plenty to 
make a man jealous when he's married to 
a screen actress. For the husband of any 
screen actress knows that she is playing 
love scenes, every day, sometimes far 
into the nights with the most attractive 
men in the world, presumably, or they 
wouldn't be here at all. I ask any husband 
in love with his wife to go into the Silence 
for five minutes and then tell the world 
how he would like to spend his days think- 
ing of his wife in the arms of Clark Gable, 
Charles Boyer, Robert Taylor, whoever... 
"We girls on the screen have oppor- 
tunities for finding out whether these men 
are attractive to us, or not. For if love is 
the mutual attraction of chemicals, as de- 
fined by Mr. Shaw, and if all that is 
needed is contact to determine whether 
the chemicals are combustible or antipa- 
thetic, then you cannot play love scenes 
for weeks without finding out whether 
r screen lover attracts you or whether 
you'd rather be peeling onions! And you 

rot to pretend that there is never 

•donal between a man and a 

nig together on the screen. 

sr believe it. For there is, of course. 

e is, also, the social aspect. As a wife 

voi.ian should be fresh and ready to go 

)laces with her husband when he comes 

i the office, the Tired Business 

n in need of relaxation. But as a star 

same woman would (I do) come 

e from the studio wanting no relaxa- 

[Continued on page 59] 



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On Bill Powell's recent London trip he visited Bob Taylor's A Yank at Oxford set. 
In group are Bill, Maureen O'Sullivan, Bob, Griffith Jones, Director Jack Conway 

month : — Claire Dodd, on the Romance 
in the Dark set at Paramount, removed the 
canvas bottoms from the folding chairs on 
the set, substituted "lastex." Bottoms 
sagged, bottoms bumped. 

ONION trouble:— At M-G-M, Fannie 
Brice peels onions, sings a song at the 
same time, for Everybody Sing. It's a cry- 
ing song. But Fannie isn't acting. They're 
real onions she peels, and Fannie's tears are 
real, not glycerine. Fannie says she wants 
to sing a song about roses, rather, maybe ; 
ain't it? . . . And at Universal, Nan Grey 
is breaking all dates during takes of a picnic 
scene with Donald Woods. Script calls for 
them to eat hamburger and raw onion. 
Close-up camera demanded real onions, 
nothing phony like sliced apple. Nan Grey 
ate onions, smelled onionish for days. It 
was during shooting on The Black Doll. 

NOT only onion trouble, but dog trouble 
on that same Black Doll set at U. 
Prime prop in the action is a black doll. It 
was missing the other day. Production was 
delayed nearly an hour until a "grip" re- 
membered he'd seen "Junior," the pooch 
you'll see in the film, furiously burying a 
bone. They exhumed the bone. It wasn't 
a bone. It was the dpll. Now the prop- 
man provides real bones for "Junior" to 
bury instead. 

LATEST clowning-on-the-set patsy is 
Jeanette MacDonald. They caught her 
with this gag : ... in a scene in M-G-M's 
Girl of the Golden West, Jeanette has to lift 
a barrel lid, peer at the gold which she's 
hidden inside. While she was at lunch, Di- 
rector Bob Leonard did his stuff. After 
lunch, she went into the scene, lifted the lid. 
Then the scene went all to hellangone — for 
floating ludicrously out of the barrel caraea 
toy balloon with a goofy painted face on it. 
Jeanette screamed, Director Leonard and the 

crew howled, and another Hollywood gag 
went into the records. 

M-G-M's pretty busy with set-gagging 
and kidding. That's why Director 
Edward L. Marin is going to be surprised 
when they finish shooting Everybody Sing 
and give him the private preview party 
they're fixing up. Unknown to Marin, the 
cast has been shooting a 16 mm. movie 
camera at the times when Marin, like most 
directors do, is acting out a scene to show 
how it should be done. To date, they've got 
him doing roles of Allan Jones, Lynne 
Carver, Fannie Brice, Reg Owen, Billie 
Burke, Reginald Gardiner and Judy 
Garland. They're sorry Shirley Temple and 
the Three Marxes aren't in the cast, too. 

UNIVERSAL'^ Mountains 
Kingdom is giving its cast and crew 
some new experiences, trick thrills. It 
plunged them into a miniature gold rush 
when Noah Beery, Jr., on location in the 
Sonora '49 country, actually pickec 
gold nugget. At once, other actors I 
ging — Frances Robinson, Fred Kohl m 
make-up man Otto Lederer. They four 
more gold. That night, Direct' 
ham Gittens discovered he'd losi 
nugget from the watch charm lie 
Imagine Noah Junior's chagrin when he had 
to return his "find." More chagrii. 
the company discovered that wintei 
produces more violent sunburn at 6.001 
altitudes than the beach in midsuti 
Young Beery, old-timer Kohler \ 
had daubed their faces with anti-sunbui 
Other cast and crew members sui 
ful burns. 

SNICKERS from the sets : — balled up 
her lines in Love On a Budget, S 
Deane ruins a take by yellii 
Gleason : "Hurry up and get breakfast 
I shave," instead of vice versa. 


Accept No Substitutes! Always Insist on the Advertised Brand! 

"I'm Afraid of Marriage" 

[Continued from page 57] 

tion quite so much as a hot bath, a mas- 
sage, lights out at nine o'clock. Now, 
what kind of a life would that be for any 
husband? It is," said Roz, "a twister. For 
it would be like living perpetually on a 

'"TpHE only safe way is for the woman to 
JL give up her career — if she can. I can't. 
I know now, as I did not know a year ago, 
that it would be impossible for me. Because 
I have given the best years of my life (all 
of twenty-odd, oh, Roz!) ; because I have 
worked and worked alone for what I've got ; 
because I've fought my own battles and some 
of them have been pretty grim — and why, 
now, should I be willing to give it all up for 
life in a vine-covered cottage ? It was differ- 
ent for a woman, once upon a time. It isn't 
Once Upon A Time any more. It is these 
times and very uncertain times they are, too, 
as you know if you read the newspapers and 
listen to the radio; 

"The only solution for me would be to 
meet and come to care for some man, 
modern enough, sufficiently in tune with the 
times, not to expect, more, not to want me to 
give up my work, relinquish my special and 
trained abilities — any more than a woman 
ever expects the same sacrifice from a man. 
"Then, too," Rosalind said, "if you have 
lived alone and liked it (rather) for these 
twenty-odd years, as I have ; if you have 
done things your own way, liked your own 

kind of a life in your own kind of a house 
on your own kind of a schedule, if any, you 
feel even more afraid of the risk of double 
harness. I've developed certain traits, char- 
acteristics, phobias, faults, virtues, habits, 
which are more pronounced in me now than 
they would have been had I married at 
eighteen. How do I know that I could fit 
into another person's life ! It is so tragic 
to be a misfit — above all to be a misfit in 
marriage, of all failures the most devas- 
tating . . . 

"TF ANYONE says to me 'go and do so- 
1 and-so' I immediately do a slow burn 
and feel like tearing the paper off the walls. 
I might marry a man with just a dash of 
the Simon LeGree and then I might tear the 
paper off the walls, and then . . . you see? 

"I have a pet hate : it's of second-rate 
things, second-rate thoughts, second-rate 

"I have a positive complex about being 
over-dressed. • If ever I fell heir to one of 
those full-length silver fox capes I'd trade 
it in for a horse. I design most of my own 
clothes. I like to draw, make sketches . . . 
and I might, you know, marry a man who 
would be perfectly reckless with his shaving 
cream . . . 

"My worst fault is procrastination . . . 
I live for days, weeks, months on the 
'manana' theory, then go flying into ac- 
tion and get things done, like a Fury in a 

frenzy . . . but then again I might marry a 
man from the frozen North, a man who had 
never heard of manana and wouldn't care 
for it when he did hear of it . . . 

"I love to drive. I often get up in the 
middle of the night, get out my car, drive for 
three, four, five hours. I don't know where 
I'm going when I start and seldom know 
where I've been when I get back. I just 
drive for the sheer love of driving ... a hus- 
band might be forgiven for considering this 
just a bit peculiar . . . 

"My chief value to my work is, I think, 
my attack. It is my attitude toward what I 
am doing. I spend my life on the set trying 
to make the character I am playing honest, 
trying to make her believable. Whether I 
succeed or not I leave other people to judge. 
Craig's Wife gave more personal satisfaction 
than any picture I have ever done. It was a 
trouper's paradise . . . 

"... And I have courage," said Rosalind, 
"courage for everything except failure, espe- 
cially failure in marriage and in love. And 
there I am and there it is and it's all very 
silly for if, or when I fall in love — again — I 
shall be a true daughter of Eve and marry 
the man and all of my theories, complexes, 
habits will be so much fluff and feathers. It 
is the only challenge I fear," said Rosalind, 
"the only one . . . but when the time comes — 
and the right man — I'll accept it. For if love 
can conquer death, surely it can conquer 
fear, too . . ." 






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1. A star of Nothing Sacred 
6. Feminine lead in The Ad- 
ventures of Marco Polo 

10. Hitia in The Hurricane 

11. Our Comedies 

12. Miss Lupino's initials 

14. Hersholt's birthplace 

15. — — — Gershwin wrote 
lyrics for Damsel in Dis- 

16. Initials of Miss Inescort 

17. 12 Across had lead in Let's 
— ^— Married 

19. The girl in Danger Patrol 

21. Technicolor films have it 

22. What canine actors do to 
register distress 

24. Mickey Rooney is one 

25. A Star Is 

26. Modern movie theatres are 
wired for this 

28. Actress married to Robert 

31. James Stewart was born in 
this state (abbr.) 

32. Edna Oliver's initials 

33. Whose wife is Jobyna Rals- 

37. They caused much havoc 
in The Hurricane 

40. Mr. Cheng in West of 
Shanghai (poss.) 

41. Gaumont-British stars en- 
joy this beverage 

43. End 

45. Star of First Lady 

46. Barbara Vance i 
Awful Truth 

48. Ever Since — — — 

49. Initials of a star of The 
Awful Truth 

50. Movie enthusiast 



— — — Many Wives 

Beg, Borrow Steal 

Ben Alexander and Kay 
Linaker play opposite in 
The Outer ■ 

Scotch singing comedienne 

Raymond Quintet 

Bill Boyd's bride 






Mary Maguire's initials 

— Man of Brimstone 

Vincent in 45 Fathers 

Roger in Thoroughbreds 

Don't Cry 

Star of Adventures of 

Marco Polo 

Daisy in True Confession 

Initials of Jimmy Glea- 

son's son 

Last Month's 













































































































































9. First name of Mr. Giradot, 

character actor 
11. Shimmy dancer who has 

acted in films 
13. Gordoni in Manhattan 

Merry-Go-Round (poss.) 
16. Film in which Spencer 

Tracy and Sylvia Sidney 

had leads 
18. Breakfast For • 

20. Dorothy Lamour was born 
in this state (abbr.) 

21. First word in title of many 
Benchley shorts 

23. Whose husband is Johnny 

25. Gene Raymond is one 
27. Judy in Some Blondes Are 


29. Garland worn by natives 
in Hawaiian scenes 

30. Familiar term for sound 
motion pictures 

34. The Wrong • 

35. Heroine of Thin Man films 

36. Pete in A d v e n tit row J 

37. First name of noted col- 
umnist seen in Love and 

38. She plays opposite Joel 
McCrea in Wells Fargo 

39. He clowned with Billy 
House, Mischa Auer and 
Bert Lahr in recent film 

42. Comedian with Swedish 

44. Chaplin's screen headgear 

46. One of Moore brothers 

47. Her last name is D'Avril 
50. Descriptive of Olivet 


52. The Wyoming Trail 

54. Merry Round of 

56. Ruby's husband 


Accept No Substitutes! Always Insist on the Advertised Brand! 

Rubber Legs 

[Continued from page 50] 

cinema venture. The picture had many added 

"For one thing," Bolger explains, "I had 
always wanted to do a dance routine with 
Eleanor Powell. I have been sold on that girl 
ever since I first saw her dance. When I 
was in England several years ago I bought 
an option on a show called Mr. Cinders, for 
the sole reason that I saw in it a chance for 
a Bolger-Powell routine. Somehow or other 
the negotiations fell through, and I didn't 
get the routine. 

"But in Rosalie I did my first routine 
with her. And it happened to be the same 
routine I had planned out back in England. 
We made modifications, of course. But it 
was just about the same routine." 

BOLGER is a Bostonian, who bounced 
into the world a few odd thirty years 
ago. After completing his education he 
bounced around New England selling vac- 
uum sweepers. His ability as a salesman 
was somewhat hampered by his angular 
awkwardness — a characteristic which he has 
developed to make his personality and danc- 
ing unique on the screen. 

At one time Ray had dreamed of becom- 
ing a bank president. This was when he was 
trying to make New England housewives 
vacuum-sweeper-conscious. But he couldn't 
make his feet behave and so we find him 
joining a musical comedy repertoire com- 
pany — which continued to take him into 

Maine, Vermont, etc. This theatrical ap- 
prenticeship led him into big time vaudeville 
— and eventually on the New York stage in 
hit musical shows. 

And now his feet are taking him places 
on the screen. Like Fred Astaire (Ray has 
more eccentric steps in his routine than 
Fred) he dances in his sleep — and while 
dreaming of dancing he climbs out of bed 
to practice the steps that come to him in 
the dream world. 

After giving us a bit of his background, 
Ray continued : "Rosalie gave me my chance 
to handle a football and play on a real team. 
It was a real team, all right. The only trouble 
was that the first time they gave me the 
ball, I got buried at the bottom of the pile, 
Nelson Eddy kicked me in the jaw — and 
sprained his ankle ! 

"I don't know how he did it. He tripped 
or something. It didn't hurt my jaw much. 
But it left Nelson limping a little. This 
proves without a doubt that I would have 
been a success ■ in football." 

Much of the success and fun he had in the 
picture, Bolger attributes to Director W. S. 
Van Dyke. "We were sitting around on the 
set one night," Bolger recounted, "and there 
were still six pages of script and dialogue 
to shoot. It was six-thirty p. m. Fifteen 
minutes later it was dark enough to suit 
Van. We started shooting on those six 
pages at a quarter to seven — and at seven- 
thirty, mind you, I was on my way home ! 

Finished ! They tell me it takes ordinarily 
at least four days to shoot that much script ! 
And he's a million dollars worth of fun to 
work with, too. You never know when he is 
going to pull a gag on one of the cast. But 
he can take it as well as dish it out. 

"T 7" AN is the only director in Hollywood 

V who makes you show up for work a 
half hour early. In a Van Dyke picture you 
get on the set at eight-thirty every morning — 
but when the end of the week comes, you're 
the only players in town who get off to see 
the tennis matches or football games or 
races — or what have you. 

"The first football game I saw in seven 
years was a present from Van. While I was 
in New York, playing on the stage, I used 
to have to dash back to my dressing-room 
between scenes to listen to touchdowns over 
the radio." 

"At first I got to going to so many parties 
it made me dizzy," he explained, "and any- 
way I got tired of sitting in a corner while 
the talk went on over my tired head. 

"But I like this Hollywood. McGuire had 
a part written for me in The Girl of the 
Golden West, and I'm back to dancing again. 
It's only temporary, though. Any day, now, 
they'll have me back acting again as I did 
in Rosalie. Then you'll see a new Ray 
Bolger !" 

He did a brisk dance step. "I'm so happy," 
he concluded, "I could dance !" 


WHY, I'M ONLY 221 


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tells all in MOTION PICTURE Magazine. 


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How Disney Does It 

[Continued from page 43] 

gags for the greater delight of their con- 
freres. The confreres may get inspirations 
for elaboration of a gag, and pantomime a 
bit, themselves. 

An outsider, stepping unwarily into the 
middle of a Disney story conference, might 
fancy himself in a madhouse — seeing grown 
men making funny faces for the amusement 
of other grown men, hearing them quacking 
like infuriated ducks, squealing like fright- 
ened mice. 

Once the sequences are convincingly visu- 
alized, and approved, they estimate how 
many frames of film will be required for 
the animation of each situation, and figure 
the total. 

■ Having these figures now, they call in 
the music department — before starting the 
actual drawing. The music department, fol- 
lowing the detailed chart of plot action, 
prepares a musical score, which is recorded 
for the benefit of the animators. This, to 
make sure that the animation will be in a 
definite rhythm, though the audience may 
be unconscious of the fact. 

Next, the special effects department pro- 
duces, on a sound track, all the sound effects 
required by the plot. This, also for the 
greater inspiration of the animators. And 
last, but not least, voices are rounded up for 
the dialogue, and the dialogue is recorded. 

"We try," says Walt, "not to have too 
definite mental pictures of expressions on 
characters until we hear their 'voices.' We 
try to make the drawings fit the voices, not 
vice versa. We figure it helps to make the 
drawings more life-like . . . The animator 
knows, the exact frame, what the voice is 
doing. He has a chart that tells him." . 

With the music, the' sound effects and the 
dialogue recorded, and the three synchron- 
ized on one sound track, the actual drawing 
can get under way. The chief animators 
draw the main bits of movement. Assistants 
"fill in" the in-between motions. Each artist 
has a set of master sketches giving the exact 
size of each character, the guarantee uni- 
formity in the drawings. As the animators 
go to work, other artists— in another de- 
partment — start drawing backgrounds for 
each scene. 

THE genial insanity of a Disney story con- 
ference is matched by the mad mimicry 
that goes on in the animation department. 
Over each animator's drawing board is a 
mirror. The mirror explains the "human" 
expressions of all the Disney cartoon .me- 
nagerie. The animators screw up their faces, 
seeking the epitome of expressions they are 
trying to draw, then put down on paper what 
they see in the mirrors. 

"Sometimes this isn't enough," Walt says. 
"Sometimes we have to hire professional 
pantomimists to get up on a platform in 
front of the animators and register emotions 
we're trying to draw. We try to get an 
actor close to our general conception of a 
character, then study that actor, the better 
to visualize the character." 

The first drawings are made in pencil. 
They are complete in every detail, but, being 
in pencil, they can be erased and changed. 
("And usually are," Walt adds.) When 
hard, painstaking work has produced a com- 
plete set of pencil sketches on drawing tissue, 
these are photographed by a "test" camera. 
The "pencil movie," complete with sound 
track, is run back and forth in a gadget 
called a moviola — a two-way movie projec- 
tor. Disney and his department heads, espe- 
cially his chief animators, look it over in 

critical detail, picking it apart for story 
weaknesses, technical flaws. 

Disney, in person, gives the final okay for 
a go-ahead on the picture when one is given. 
By that time, he has seen one complete set of 
pencil sketches of everything to go in the 
picture. More often, he has seen two or 
three complete sets. He estimates that he 
saw close to two and a half million separate 
sketches for Snow White before it was com- 

ONCE Disney has given the signal for 
the go-ahead, the sketches go to the 
inking and coloring departments. In the 
inking department, sure-fingered girls — all 
recruited from art schools — transfer the 
sketches to 12^-by-15-inch celluloid trans- 
parencies, by tracing. In the coloring de- 
partment, more girls — also art school 
graduates — fill in the drawings with color, 
following charts at their elbows. The color 
is applied on the back of the transparencies, 
not the front — to prevent the camera from 
picking up the "seams" where two colors 

The paints are mixed by girl chemists in 
Disney's own laboratory, which developed, 
after long experiment, all the various shades 
used in Disney pictures, all of which are now 
in color. Then, after scientific drying, the 
transparencies are- photographed by a camera 
also developed by Disney research engineers. 
This is the now-famed Multiplane Camera, 
first used on a Disney short entitled The 
Old Mill, but actually created to photograph 
Snozv White. A towering mechanism rising 
fifteen feet, requiring several men to operate 
it, the camera photographs a series of trans- 
parencies super-imposed over each other at 
varying levels and gives an illusion of depth 
to objects seen on the screen. It takes two 
weeks to film a Mickey Mouse or Silly 
Symphony. It took months to photograph 
Snozv White. 

Lastly, the photographic negative has to 
go to the Technicolor laboratories for color 
processing in its transition to photographic 
positive. And that-^very briefly — is how 
Walt Disney makes a picture, whether it is a 
short starring Donald Duck or a full-length 
feature like Snow White. 

AND that's why we say we're lucky, that 
people seem to like Snozv White," 
Walt Disney told me. "We were at it for 
three years. It took us a year — and $75,000 
— to build the Multiplane Camera alone. 
That's a long time to work on only one pic- 
ture — especially, a picture that everybody 
else said was a gamble, doomed to failure. 
No one 'would go to see a full-length picture, 
all drawings.' 

"We believed in Snozv White, ourselves. 
We wouldn't have started it, and we cer- 
tainly wouldn't have finished it, if we hadn't 
believed in it. But we had a million and 
one problems to meet. For the first time, 
we had human characters mingling with 
animals. We had to make the action life- 
like and true, make the audience unconscious 
of artists bending over drawing boards, 
creating those characters. We had to create 
beauty, and charm, not mere comedy. We 
had to experiment in how to create moods, 
how to put them across on celluloid. We 
had to figure out ways to get this effect and 

"We had so many things to concentrate on, 
that's why I say we're lucky that people 
seem to like what we did. We were so in- 
volved with technical problems that we 


Accept No Substitutes! Always Insist on the Advertised Brand! 

didn't have the chance to do everything we 
should have with the story. We feel here 
that what we have in Snozv White is a test 
picture. There were so many things that 
we didn't incorporate, because we didn't 
know about them in time. But we know 
about them now, because of what we learned, 
making Snozv White. The occasional 'jitter' 
in some of the movements, for example. It 
isn't particularly noticeable. But it will be 
removed entirely, next time." 

NO OTHER artist in history has known 
such popularity, such spectacular suc- 
cess. Yet the size of his bank account, if 
revealed, would get as big a laugh as one of 
his cartoons. It is that ridiculously small. 
He pays himself the kind of salary that a 
minor actor on the Hollywood scene would 
sneeze at, and pours the rest of his financial 
returns back into the business. Seemingly, 
the reason why he keeps trying to make 
better pictures is to have the wherewithal to 
keep trying to make still better pictures. 
That, seemingly is what he lives for. 

Unquestionably, that is one of the secrets 
of his success. What are the other secrets 
of that success ? What is it that Walt Disney 
has, that no one before him had ? He would 
be the last to be able to tell you. He would 
be the last to be intrigued by the question. 
He's too busy, planning some new experi- 
ment. But, pin him down, and you may 
learn something about the Disney philosophy 
of picture-making. He told me, for example : 

"We consider the adults, more than the 
youngsters, making our pictures. We have 
to. If we appealed only to the youngsters, 
this business of making cartoons would be 
easy. But we couldn't afford to spend more 

than ten thousand dollars a picture. That 
would be about the size of our audience. A 
Punch-and-Judy show will make a youngster 
laugh. But it won't make an adult laugh — • 
unless there's some understandable, and 
comic, reason for a character's getting 
slapped down, and some understandable and 
comic reaction by the character. There's 
a lot in an adult that is still a kid, we figure, 
but there's more that is an adult. And movie 
audiences, for the most part, are adults. 

"T'VE read somewhere that when I do a 
JL fairy story, I just single out the inci- 
dents I happen to remember and go on 
from there. That is a gross misconception. 
My staff and I go over a story together. 
We outline the essential part of the plot ; 
we make notes on the highlights of the story 
that no one could forget. We leave out non- 
essentials, try to invent new business that 
will build deliberately, not haphazardly, to 
those highlights. 

"Take Pinocchio, for example." Disney 
may do this as his next feature-length pic- 
ture, if the screen rights are straightened 
away. "Every time he told a lie, his nose 
grew a little longer. Everybody remembers 
that from the story. And a movie-maker 
would make full use of it. But there are 
other things he would leave out. Pinocchio 
is a long story, as well as an old one. The 
author, I imagine, never edited his work. 
He simply wrote and wrote, and included 
everything that came to mind. The story 
has a thousand non-essential details. A 
movie-maker would sort out the things that 
people remember, and build the picture from 
those things. Don't forget that we have to 
build for the people who have never read a 

story, as well as those who have. It's got 
to be an entertaining picture to the people 
who have never read it, even though it may 
not be a faithful interpretation. Boy, you 
can tire them in a hurry if you don't watch 
out, if you don't keep them interested. 
_ "Kids won't like The Sorcerer's Appren- 
tice as adults will. But they may appreciate 
it as they grow older and see it again. (We 
hope it will run that long.) They may ap- 
preciate the fine music, the musical effects 
that Stokowski gets. 

"No, he won't appear in the picture. Only 
his shadow will appear — and the shadows 
of his seventy men. We got a marvelous 
sound track. It's a thrill to me — I know 
that. We're all very enthused here about it. 
So is Stokowski. Five years ago, he ex- 
pressed a desire to do something like this. 
He sees great possibilities of music on film. 
He has a great mind, great imagination, 
great showmanship. 

"The picture will be on the screen only 
ten minutes. (We hope to have it ready 
for release in the early Fall.) But if it's 
successful, we'll do longer things. 

"I say 'we' because this isn't a one-man 
proposition. I couldn't disband this organ- 
ization, recruit another, and expect to do 
what we're doing today. This organization 
is a slow growth, over a period of years. If 
I had to cut it, I wouldn't know where to 
start. In so many places, we need several 
men to do something that one man can't do. 

"We're all pulling together, all trying to 
do a little better than we did last time. It's 
a funny thing to say, but I'll say it: If we 
weren't working with this as a living, we'd 
be doing this as a hobby." 

That's how Disney does it ! 

New Cream 


does More t/umEver 

TODAY something new is 
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One of the vitamins has been 
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And this "skin-vitamin" you 
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Use it as you always have. 
After a few weeks, just see how 
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In Pond's Vanishing Cream, 

this precious "skin-vitamin" is 
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It nourishes the skin! This is 
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Same Jars ... Same Labels ... 
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Get a jar of Pond's new "skin- 
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Melts Roughness 
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The Countess de la Falaise 

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In 3 weeks it has made my skin seem finer, livelier!" 

,- Pond's, Dept. 6-VR. Clin- 

_ T^ ton ' Conn. Rush special tube 

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. . vitamin" Creams and 5 dif- 

Test It in ferent shades of Pond's Face 

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cover postage and packing. 


Copyright, 1938, Pond's Extract Company 

When Answering Advertisements, Please Mention April MOTION PICTURE 


We asked women everywhere.. .in 
homes, in beauty shops, in stores 
and offices. ..and they said "Give us 
a curler that will make large, soft, 
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new hair styles. The HOLLYWOOD 
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ly, dries quickly, withdraws with- 
out spoiling curl. They're 2 for 10f? 
at dime stores and notion counters. 


3 inches by 


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Blonde Hair Requires 
A Special Shampoo 

Unless blonde hair is given special care it is sure 
to darken and lose beauty with age.' But here, at 
last, is a shampoo and a special rinse that brings 
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bination package (shampoo with separate rinse) 
sold at all stores. Large size costs less per shampoo. 

The Private Life of Burns and Allen 

[Continued from page 33] 

But Ronald demanded attention. He 
showed Grade a tiny finger, which, it 
seemed, had been hurt. "Oh, I'm so sorry," 
Grade said, kissing it. George had to kiss 
that finger, too. "I didn't cry!" Ronald de- 
clared. "Because you are a big boy," Grade 
assured him. "If you come over here, I'll 
give you some jam." The children had had 
their breakfast, but jam has drawn young- 
sters to it since its creation. He stamped 
around_ the room, whooping his morning 
war cries. "Are you an Indian?" Grade de- 
manded. "I'm the big bad wolf," he answered. 
"I'm Pop-Eye the Sailor." Grade, imitating 
the voice of that redoubtable mariner, re- 
peated, "I'm Pop-Eye the Sailor." Then, 
hugging him, "Oh, you're so silly !" 

George, the paterfamilias, enjoyed these 
interruptions. "When I was a little fellow 
I sang with three other boys," he continued. 
"We called ourselves the Pee- Wee Quar- 
tette. We sang in theatres on amateur 
nights, and scrambled for the money they 
threw at us on the stage. We would search 
each other, and always found a dime in each 
other's mouths. My first professional job 
was a silly sketch in which I was a shoe- 
shine boy. But after working a week, my 
employer wouldn't pay me. We used a gun 
in the act. I made away with it and sold it 
to a pawnshop for five dollars. I was 11 
then." He puffed at his cigar, remem- 

"When I was about 12 I met a lot of 
dancers. They used to gather at the Park, 
to exchange steps, haggle over routines. 
New steps were worth money. I learned 
from them how to dance and do a skating 
act. And one day I teamed up with a fellow 
called Brown, a professional dancer, and 
went to Albany with him. My whole family 
was at the station and gave me a rousing 
send-off. Brown's former partner had done 
the same act in Albany before we got there, 
and we had to go right back to New York. 

" A^ 14," George went on, "I opened a 
Jr\. dancing-school for two years where 
I taught foreigners how to dance. Then I 
went on the road, with a new name and act 
every week. I did everything— singing, 
dancing, talking. I was a big bluffer, and 
if a manager asked me, 'Can you do this?' 
I would say 'yes,' no matter what it was. 
Managers got to know me so well that a few 
times they wouldn't even let me get off the 
train. _ I was doing a singing and dancing- 
act with Billy Lorraine at a theatre in Union 
Hill, N. J., when I met Grade. She came 
back stage with a girl friend of hers, who 
knew Billy and I were going to split up. 

"Grade had an act that was written 
especially for her, and we decided to do it 
together. But it needed some scenery, and I 
couldn't dig up $300 to buy it. I had an 
act of my own. I wrote it, stole it, you 
know. You take a joke from here, a joke 
from there, and make up an original act. 
My act didn't need any scenery, and we had 
to do it whether we wanted it or not. As 
'Burns and Allen' we opened that act at 
the Hill Street Theatre in Newark, N. J. 
I didn't drink, but I took along a bottle of 
gin to bolster up my spirits, because this act 
was all talk, and my talking experience 
was limited to telling a joke now and then. 
I had never talked for IS minutes straight. 
We were booked for three days at $5 per 
day for both of us. It was a terrible theatre 
and the manager was a hard-boiled man 
who didn't seem to like our looks. My 

bottle of gin came in handy. I poured him 
a drink, and he moved us from the worst 
spot on the bill to the best, which for a talk- 
ing act is next to the last." 

"Did you fall in love with each other at 
first sight?" we asked. 

George : "Grade was in love with another 
man, a song-writer." 

Grade : "I was engaged to marry him." 

GEORGE : "I thought of myself as a hell 
of a gay blade. I used to wear those 
four-button coats, and always had a cigar 
stuck in my mouth. Grade was the first 
really nice girl I had met, and before long 
I fell desperately in love with her. I knew 
she was the one girl in my life, and asked 
her to marry me. But she wouldn't. She 
still preferred the song-writer. Finally, I 
gave her an ultimatum. It was either me 
or him. 

"Early one morning following a Christ- 
mas party, she phoned me she had broken 
her engagement and we could get married. 
Our wedding took place in Cleveland, 
twelve years ago. We had very little money, 
and didn't know if the booking-office would 
accept a new act I had just written. It was 
quite a gamble. Well, we showed our new 
act on Monday, and on Tuesday we signed 
a five-year contract, getting on the Keith 
circuit at $350 a week. That was a lot of 
dough for me. On the fifth year, our salary 
was to go up to $750 a week. Our troubles 
were over." 

"When did you get on the air?" 

"We made our first radio appearance in 
England, when we went to Europe on a 
vacation. But the British seemed to like 
our American humor and we played all 
through England. Some of our words don't 
mean the same thing in England, and we 
learned to say a 14-stone man instead of a 
250-pounder and things like that, but we 
had no trouble in putting our jokes across. 
Our radio success came rather suddenly. 
We were playing at the Palace Theatre in 
New York when Eddie Cantor invited 
Grade to appear on his program for three 
minutes. She was a hit, even though I do 
say it myself. 

"Then one day a radio executive came 
backstage at the Palace and asked us if we 
would go on the Rudy Vallee program. I 
asked him how much we would get. He 
said $750. I was amazed. 'A thousand 
dollars and not a cent more,' he said. He 
thought I was arguing ! That was tre- 
mendous money for one performance. We 
grabbed that offer right away. The next 
week we went on the Guy Lombardo pro- 
gram and stayed with him for two years. 
That's when we started Grade's mythical 
missing brother idea. When Guy left the 
program, we took over the entire show. 
Now we are the two nuts with the grape- 

THEY started in pictures making shorts. 
"When we first came to the Coast Fred 
Allen was supposed to make a short for 
Warners. But he couldn't make it. One 
night, at a party, an agent asked us, 'How 
would you like to make a short tomorrow 
morning for Warner Bros. ?' 'Tomorrow 
morning ! How much money is there in it ?' 
'Fifteen hundred dollars,' he said. I had 
never heard of so much money in my life. 
It was our third year with Keith and we 
were getting only $500 a week. 

"The next morning we went to the studio, 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

and the director of our short turned out to 
be a fellow whom I knew very well from the 
East Side. I thought I wouldn't believe 
him. 'Oh, get out !' I said. To prove that 
he was the director, he ordered the lights 
turned on and off, and by golly they were ! 
We made the short, but it was very bad. Our 
fault. All we could do was to tell jokes. 
But I liked this movie business. I wrote a 
short and submitted it to Paramount. They 
offered me $500. I told them the only way 
they could buy the script was to buy us, 
too. They bought us, in spite of our initial 
failure. We made 14 shorts in two years. 
But our screen career really began with the 
first Big Broadcast, with Bing Crosby. It 
was his first picture, too. And here we are." 

GRACIE told her story very briefly. "1 
was born in San Francisco. My father 
and three sisters were in show business. I 
danced and sang a French song when I was 
three. It went like this." She sang the 
song, which ended with the inevitable "Gay 
Paree." The telephone rang. It was Mary 
Livingstone calling. They talked about a 
party at the Cocoanut Grove, precisely as 
two women would talk. "Our closest 
friends," George explained, "are the Jack 
Bennys, Eddie Cantors, Al Jolsons and 
George Jessels." Competitors all. 

"During the summer vacations from 
school," Gracie recalled, resuming her story, 
"I did an act in vaudeville around San 
Francisco. I also used to sing and dance in 
church affairs. I went to a convent, and 
my mother saw to it that I graduated from 
high-school. I didn't like to study. I wanted 
to go on the stage. We formed a vaudeville 
team, known as the Allen Sisters, and went 
to New York. After a year my sisters went 

home to marry, I stayed on in New York. 
But I didn't know how to get a job, I knew 
nothing about booking agents, bookings, etc. 
Nobody called me. I concluded I wasn't 
wanted in show business and took a secre- 
tarial course. I hadn't worked for some 
time when I met George." 

HERE is a truly happy couple. "There 
is no jealousy between us," George 
stated. "We rehearse together and work 
together in the same shows. Gracie has "a 
very fine character. There is nothing 
theatrical about her. When she is off stage, 
she is off stage. But I'm just the opposite. 
I live and breathe my jokes. When I write 
a joke, I try it on the elevator boy, anybody 
who would listen." 

Gracie : "He is so earnest and serious 
about his work. If it weren't for him, I 
wouldn't be working. He is a smart busi- 
ness man and he is the one who keeps pound- 
ing out those jokes." 

George : "The secret of our success is that 
Gracie does all the work on the screen and 
radio, and I do all the work off the screen 
and radio. I never stop thinking about the 
script. I'm always insulting people when 
I don't mean it. They say 'hello,' and I 
don't even look up. I leave home at 10 :30 
in the morning, and don't get back until 
three the next morning. We write all the 
dialogue in our pictures as well as our radio 
scripts. I have three writers who have been 
with me five or six years. One of them is 
my brother Bill. Night after night we sit 
up in our office at the Hollywood Plaza 
Hotel, trying to make a silly woman out of 
Gracie. When we did that first act together 
for $5 a day, I was the comedian and Gracie 
talked straight. But the audience laughed 

at the wrong places. I immediately re- 
wrote the script and made her the goofy 
partner. It has been so ever since." 

Clothes, both admitted, is their pet ex- 
travagance. They have huge wardrobes. "I 
use a bar of soap down to the last bubble," 
Gracie confessed, "and I hoard my tooth- 
paste until nothing is left in the tube." Her 
pet aversion? "I can't stand bad table 

George : "And the thing she likes best is 
meat balls." 

Gracie : "I like everything to be served 

George : "I never thought we would get 
as far as this. And if today I'm a happy 
man, it's because of Gracie and the two 
children we've adopted. She is the best wife 
and the best mother in the world." 

One must visit them in their home to see 
the joy they find in Sandra and Ronald. 
"Ever since we saw the fun Wally Beery 
was having with his adopted child," George 
said, "we wanted to adopt one or two chil- 
dren ourselves. 

"Gracie went to the Cradle in Chicago 
and adopted Sandra when she was five 
weeks old. Now, a five-week-old baby 
breathes so lightly you can hardly notice it. 
They sat up all night, watching her breathe, 
to make sure she was still living. All of a 
sudden she sneezed, and they were fright- 
ened to death, thinking she had caught a 
cold. We adopted Ronald at the same place 
a year later." 

Suddenly he remembered something. 
"Follow me," he said. We followed him to 
a room upstairs, walking like him on tip-toe. 
Cautiously, he opened the door. Sandra and 
Ronald were sleeping peacefully. We'll 
never forget the expression on his face. 

Slow Did we Ever get along- without KtLSffltJK*? 

Seems Like Everyone has a 

"Kleenex True Confession 


91J n. Michigan Ave.. Chicago 


(From a letter by Mrs. W. T., New York, N. 

T»T> W S m "- 




(From a letter by Mrs. H. E. B., Pasadena, Calif.) 


• Adopt the habit of using Kleenex in 
the Serv-a-Tissue box that ends waste 
and mess . . . boxes of 200 sheets now 
2 for 25c. It's the handy size for every 
room in your home, for your office and 
your car. During colds, see how Kleenex 
soothes your nose, saves money, reduces 
handkerchief washing. Use each tissue 
once— then destroy, germs and all. 


(*Trade Mark Reg. U. S. Patent Office) 


10 BEtTiMiFumiK, 

fOR IY1E ! 

(From a letter by 

Mrs. W. P. S., Chicago, 111.) 




it Saves as it Serves— one double tissue at a time — 

When Answering Advertisements, Please Mention April MOTION PICTURE 



By MRS. 




Cheese plays many parts. 
Above, a mouth-watering 
snack. Below, a cream 
cheese salad ring filled 
with fruit. Bottom, a Con- 
tinental tray after dinner 

CHEESE is all things to all menus ! 
This versatile, tasty and nourishing 
meat-equivalent may play the lead 
as the main dish of the meal, or it 
may fill the lesser parts in the home 
production, as "extras", doing its 
share as snacks, tidbits, sauces or 
other accessories in every course. 

The low cost of serving cheese as a 
main dish makes a strong bid for favor 
with many housewives. Used thus, most 
frequently perhaps in the form of cas- 
serole dishes combined with eggs, sea 
foods, vegetables and milk, the cheese 
dish is particularly popular for Lenten 
meals. Here, for example, are two simple 
yet delicious ways to offer cheese as a 
main dish, featuring in one case eggs and 
in the other canned tuna fish : 


6 slices buttered bread, cubed 
Yz pound sharp Cheddar cheese, cut fine 

2 eggs, well beaten 
Yz teaspoon Worcestershire or Mush- 
room Catsup 

2 cups tomato juice 

1 tablespoon onion juice 

salt, pepper, buttered crumbs. 
Use well greased casserole. Arrange 
bread cubes and cut cheese in casserole 
in alternate layers. Combine beaten eggs 
with tomato juice and all seasonings, and 
blend. Pour over, and sprinkle top with 
buttered crumbs. Bake about 45 minutes, 
moderate oven. Serves 4. 






tablespoons butter 
tablespoons flour 
cup grated American cheese 
cups rich milk 
tablespoon Worcestershire 

34 teaspoon salt 
1 teaspoon made mustard 
1 cup (Y pound) can tuna 

6 slices hot buttered toast 
Use double boiler. Melt but- 
ter, add flour, and blend, adding 
cheese and stirring until cheese 
is blended. Add milk gradually, 
stirring constantly until sauce is 
thick and smooth. Season. Add 
tunafish drained and broken in 
large pieces or flakes. Heat 
thoroughly about 5 minutes. 
Serve immediately on very hot 
toast. Serves 6. 

(Any other cooked fish may 
be substituted for tuna, such as haddock, 
cod, canned salmon, etc.) 

ANOTHER favorite method of utiliz- 
ing cheese is what might be called 
the "snack" — a light meal, quickly pre- 
pared for tasty informal bites like the 
Sunday night supper or the after school 
"piece" so loved by children. As one 
hostess puts it, "my guests always relish 
most a cheese dish when they come back 
to my house after a movie." Most often 

such snacks are prepared with the aid of 
crackers, toast, patty shells or hot bis- 
cuits, and in general they are highly sea- 
soned. In the old English cook-books, 
such fancy pungent tidbits are called 
"savories," and that is a good name 
for them now, for nothing could be 
more savory or mouth-watering ! Here's 
a novelty recipe which readers may use as 
a toothsome appetizer or to accompany a. 
cream soup, or to give tone to a crisp 
green salad : 


1 package snappy cheese 
J4 cup butter 
y 2 cup flour 

Mash cheese and cream with butter, 
beating until light. Add flour, and beat 
thoroughly. Shape into small balls 
like large marbles. Arrange on un- 
greased baking sheet, and dust with 
paprika. Chill in refrigerator 4 hours. 
Bake 7-10 minutes, hot oven (450°F). 
Serve piping hot as appetizers, or with 
cream soups or green salad. Makes 
about 24 balls. 

Cheese as a sauce is still another method 
of featuring the nourishment, flavor and 
texture of cheese at its best. When melted 
(always over hot water), and combined 
with milk or tomato juice, and well seasoned, 
a cheese sauce will make any husband tell 
his wife, "you've got something there !" 
Use a cheese sauce on all the bland starchy 
filler foods such as rice, noodles, macaroni, 
etc., and also on the white-meated fish, eggs 
and what have you. Pour a cheese sauce 
over hard-cooked eggs, set to grill and 
brown a few minutes in the oven, and you 
have a dish which a king would relish ; or, 
treat your family, now that asparagus 
season is almost here, with that perennial 
favorite, asparagus on toast with cheese 
sauce, and just watch them eat it! 

TO USE cheese as a flavoring or ad- 
dition to soups or breads is perhaps the 
least known or used custom among us 
American cooks. But long years past, the 

clever Italian served with his national soup, 
Minestrone, a small bowl of grated Par- 
mesan cheese, still one of the most flavor- 
ful and appetizing. And, likewise, the 
French home-maker was always aware that 
a few cubes of cheese added to her daily 
onion soup gave it a special taste, so special 
a taste that onion soup with cheese has be- 
come internationally famous. Likewise, 
grated cheese when added to biscuit or 
bread dough produced a special pleasing 

So let us also sprinkle cheese generously 
in our other foods, and try our hands at the 
many delicious novel cheese breads and bis- , 
cuits so easily prepared. Here is one sug- 
gestion for making a tea-ring, something- 
after the manner of the well known Swedish 
ring, and husbands and boy friends will snap 
it up and call for more : 


2 cups sifted flour 

3 teaspoons baking powder 
Vz teaspoon salt 

l /> cup shortening 

J/2 cup milk 

3 4 cup grated sharp American cheese 

Melted butter 

J /i cup chopped roasted peanuts 

Sift together dry ingredients and cut 
in shortening. Add milk to make soft 
dough. Roll on floured board to Y 2 inch 
thick. Sprinkle with cheese. Roll up 
like jelly roll and bring ends together 
to form ring. Arrange on baking sheet. 
With sharp scissors slash roll every 2 
inches from outside toward center. 
and slightly turn sections so cut side 

is on sheet. Brush with melted butter 
and sprinkle with nuts. Bake about 25 
minutes, moderate oven, until lightly 
browned. Serve hot. Serves 4-6. 

And by the way, before I forget it, don't 
forget to send for the special set of cheese 
recipes which include a simply wonderful 
light-as-air pineapple cheese cake, the last 
word in deliciousness but which anyone can 

ANOTHER cheese wrinkle or method of 
. serving is borrowed from the Conti- 
nental dinner : that is, frequently use cheese 
instead of dessert such as pudding or pie. 
It's a most pleasant change from the usual 
sweet course,_ especially in warmer weather. 
And nothing is more attractive than a special 


Let Me Send You 
the set of Choice Cheese Recipes, in- 
cluding Pineapple Cheese Cake, Spring 
Salad Ring and Vegetable Plate Special. 
Please paste this coupon on a post card 
and send it to Christine Frederick, c/o 
MOTION PICTURE, 1501 Broadway, 
New York City. 

This offer expires March 31, 1938. 


Street Address 

Town and State 





You con avoid both fat and fatigue 
if you oat foods which yield energy 
quickly. Baby Ruth is a pure, delicious 
candy — but If is also a concentrated 
food of energizing goodness. That's be- 
cause Baby Ruth is rich in Dextrose, the 
sugar you need for energy. And Dextrose 
is utilized by active people as energy,, 
when needed, rather than stored as fat. 
Active people need energy every day — 
Baby Ruth is their candy. 


When Answering Advertisements, Please Mention April MOTION PICTURE 


C srs Youn UOB 


Dental service is impor- 
tant. Dental cooperation 
at home is equally vital! 

Regular massage with 
Forhan's stimulates gums, retards for- 
mation of tartar, makes teeth gleam! For 
generous trial tube send 100 to Forhan's, 
Department 405, New Brunswick, N. J. 

Be Your Own 



to play by note. Piano, 
Violin, Ukulele. Tenor 
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Easily cut to 
any size or 


cheese board or platter, set out with an 
assortment of table cheeses, some soft, some 
firm, and all of varying flavor and texture. 
Set out a cheese platter with plenty of butter 
and crackers and get set to receive your 
guests' compliments ! 

But I hear some of my readers saying, 
"but do tell us what cheese to serve on such 
a platter, or for other uses." Ah, even to 
list all the cheeses would require a book as 
big as a dictionary ! In Paris there is a 
famous Cheese Club, and no man is allowed 
to belong unless he has eaten a little of 
exactly 300 different cheeses ! 

However, while we cannot give a com- 
plete list of the names of the countless 
cheeses available in market and shop, it may 
help to distinguish between and know how 
to use the main types of cheese, so here is a 
word of explanation about each. 

Cheese used in cooking falls generally 
into two different classes : 

1. Cheddar type or "American" or "store" 
cheese in bulk. 

2. Pasteurized "American" cheese in 

The familiar store cheese which the grocer 
cuts off in a wedge by the half-pound or 
other desired quantity from a large "drum" 
weighing often 20 pounds, is a variation of 
the original English Cheddar cheese. It 
varies in texture and color depending on 
just how it was manufactured or how long 
it has been aged. It may be light yellow or 
dark orange, may flake or crumble on 
handling, and has a characteristic sharp 
flavor which decreases with age. To many 
Americans this is the only "pie cheese," since 
serving a chunk of cheese with pie has long 
been a native custom. 

But though it is good "out of hand," such 
Cheddar is not so satisfying when cooked. 
It does not melt easily and the fat separates 
from the more solid protein causing "strings" 
to appear in one's favorite Welsh rarebit ! 
Therefore this American Cheddar is always 
best when it comes hard and when it is 
grated. It grates better than it slices and 
in this grated form is ideal for the familiar 
"sprinkle with grated cheese" called for so 
frequently in connection with casserole 
dishes. Again, never cook this cheese, even 
when grated, at too high a temperature or the 
fat will separate out, leaving a hard protein 
crust behind — as so often happens in cheese 
macaroni ! When adding grated cheese to 
a sauce, first remove the hot sauce from the 
heat and then merely add the cheese which 
will soon dissolve. Never, never cook over 
direct flame ! 

AND now for the pasteurized and pack- 
. aged American Cheddar. When cheese 
is pasteurized the process tends to stabilize 
both texture and other qualities. Pasteurized 
is recognized by its rubbery moist texture 
which will never crumble and which never 
develops a "rind" under any circumstances. 
One brand of pasteurized Cheddar is like 
another as to melting and cooking qualities. 
It grows soft when allowed to stand at room 
temperature and has a very low melting 
point, not much higher than that of butter. 
Hence it is the best type of cheese to use 
for making sauces, rarebits and similar 
recipes calling for melted cheese. 

Pasteurized cheese will not grate, but it 
slices and cubes readily. Therefore, per- 
haps the important difference to remember 
between the two main cooking cheeses is : 
grate bulk Cheddar, and cube pasteurized or 
package Cheddar. Slices of pasteurized 
cheese melt rapidly on toasted sandwiches, 
on hot crackers, or when placed on top of 
casseroles. Yet its fat and protein will not 
separate due to the thorough mixing and 
blending undergone during the pasteuriza- 

For table use, serve what are known as 
table cheeses." Some of these may be im- 
ported or many of the familiar types like 
Roquefort, Brie, Swiss, Camembert, Edam, 
etc., are now made in our own country. 
Serve only small portions, or sections in 
silver foil, arranged in an attractive way 
with assorted crackers and plenty of butter. 
Let your guests help themselves, and have 
fruits such as pears, apples, raisins, etc., in 
a fancy dish on the side. Let cheese star in 
your home menu movies ! 

And now the editors are happy to an- 
nounce the winners of the Mystery Recipe 
Contest : 

1st Prize— $200— Casserole Cobbler 

Miss Joyce Eslinger, R. 1, Box 128, Forest 
Grove, Oregon. 

2nd Prize— $100 

Dorothy M. Mahn, Orleans, Neb. 

3rd Prize— Silver Chest 

Miss Sherry Kegel, 720 Avenue "P" 
Brooklyn, N. Y. 

4th Prize— $50 

Mrs. Paul McClendon, 504 N. Solano Ave., 
Albuquerque, N. M. 

20 Rewards of $5 each 

Mrs. James Cullen, 342 E. 9th St., Oswego, 
N. Y. ; Mrs. George C. Tainsh, 225/ 2 Mid- 
dle St., Portland, Me. ; Mrs. A. H. Smith, 
4902 McKinney Ave., Houston, Tex. ; Mrs. 
Alice McAuliffe, 119 N. Belmont Ave., Los 
Angeles, Cal. ; Miss Beatrice Phillips, 227 
Jefferson Ave., Buffalo, N. Y. ; Miss Willis 
Crawford, 523 Judah St., San Francisco, 
Cal; Mrs. E. L. Cederoth, 1184 Chambers, 
Galesburgh, 111. ; Mrs. R. J. Gratz, 900 Coast 
Highway, Santa Barbara, Cal. ; Willimae 
Warrock- White, 1311 S. Delaware, Tulsa, 
Okla. ; Mrs. H. J. Allen, 1120 N. Willow 
St., North Plaggd, Neb. ; Kay Schancer, 
1730 Montgomery, Bronx, N. Y. ; Mrs. 
Frank Rogers, 1016 Highland View, N. E., 
Atlanta, Ga. ; Mrs. Carl Grove, 24 S. State 
St., Danville, 111. ; Mrs. A. Whipstock, 26725 
Vassor, Detroit, Mich.,; Mrs. Chas. Phillips, 
21 Jorden St., Santa Cruz, Cal. ; Pauline 
M. Nickerson, 2130 James St., Bellingham, 
Wash. ; Mrs. Joe Melsha, 1213 3rd St., S. E., 
Cedar Rapids, Iowa ; Harriet Crompton, 
2809 15th St., N. W., Washington, D. C; 
Mrs. Ormsby Scudder, 315 Roosevelt Ave., 
Northfield, N. J. ; Mrs. Beatrice Arden, 
4033 N. Franklin St., Philadelphia, Pa. 

20 Rewards of $2.50 each 

Mrs. P. E. Swindle, 1032 Valley St., Car- 
thage, Mo. ; Mrs. Beatrice Hall, 832 Belmont 
Ave., Niles, O. ; Doris Alameda, 736 
Kawaishao St., Honolulu, T. H. ; Mrs. A. 
A. Roth, 70 Chestnut St., Springfield, Mass. ; 
Mary A. Connor, Box 304, Armour, S. D. ; 
Mrs. Vesta McLaughlin, Bloomfield, Ind. ; 
Miss Beverly Walter, 10821 S. Maplewood 
Ave., Chicago, 111. ; Orma L. Leonard, 6820 
Dorchester Ave., Chicago, 111. ; Alice 
Stevenson, 625 Middle Ave., Menlo Park, 
Cal.; Mrs. Sophie Sierota, 1421 Ash St., 
Erie, Pa. ; Mrs. Jennie Hazelton, Ritchie, 
111.; Mrs. Richard Lee, 1428 Kauluwela 
Lane, Honolulu, T. H. ; Mrs. Miles Stauffer, 
Sibley, Iowa ; Mrs. Iva Jane Ford, 10347 
Commerce Ave., Tujunga, Cal.; Mrs. M. 
Peterson, Box 29, Oconomowoc, Wis. ; Mrs. 
Jean Williams, 367 E. 55 PI., Chicago, 111. ; 
Miss Cecil MacMahon, 2420 Dwight Way, 
Berkeley, Cal. ; Mrs. Blanche Norton, Gore 
Road, RFD 1, Conneaut, Ohio; Mrs. Anna 
Gilmore, 74 N. Lowell St., Bridgetown, N. 
J. ; Jennie Broudy, 6147 Langley Ave., Chi- 
cago, 111. 

Accept No Substitutes! Always Insist on the Advertised Brand! 

Be Yourself 

[Continued from page 49] 

in back so as much neck as possible may be 
glimpsed. Instead of making her face the 
oval that was the Greek ideal of beauty, 
Claudette creates a triangle whose base is 
the straight line of her famous bangs. In 
repose, her features take on the character- 
istics of a lovely Benda mask. 

THIS individuality of Colbert's is carried 
over into her make-up. She wears, for 
street, only a bit of an ivory powder, a wee 
bit of rouge — much less than you and I — 
mascara and a dark rose lipstick. The 
pallor of her skin accentuates the vividness 
of her lips, and the beauty of her dark spar- 
kling eyes. Because wispy brows would be 
lost under those bangs, above those dark 
brown eyes, she merely pulls out the strag- 
gling hairs, and shapes the brows themselves 
in a natural arch. Those luxurious lashes 
are just touched with mascara to bring out 
their lustre, and keep them softly curled. 
For evening, she carries her make-up to her 
arms and hands, using a powder lotion to 
make them even more softly gleaming than 
they are. They contrast beautifully with a 
dark evening gown, or the formal black of 
her escort. 

Suntan, Claudette thinks, is not becoming 
to most brunettes. A browned skin doesn't 
contrast well with dark hair and eyes. No 
one is inspired to look twice at a girl who is 
completely all one tone. A blonde, on the 
other hand, looks very well with a deep tan, 

because her hair and eyes, and the white 
clothes which she'll of course wear, contrast 
beautifully with the dark skin. Other girls, 
and probably a lot of brunettes among them, 
may bask in the California sun, but Claudette, 
with her ivory skin, stands out as the one 
white woman among them. 

WHEN you look at the pictures of 
Claudette, or, for that matter, any 
other movie star, you can't help noticing 
her softly gleaming hair. And you know 
that sheen comes only with clean, healthy 
hair. Hair, your hair and mine, and 
Claudette's too, can't shimmer and shine un- 
less it is well taken care of, unless it is 
washed often with the type of shampoo that 
is correct for it, and unless it is brushed 
each night until the scalp tingles. All this 
goes to'make for beauty of the hair itself — 
beauty of arrangement can come later. 

If your hair is normal, or for that matter, 
if it is dry or oily, you'll find that one of 
these two shampoos will do right by you. 
The first shampoo, for normal and oily 
hair, has been on the market for the last 
two or three years, and I'll bet my new 
spring bonnet, flowers and all, that a great 
many of you have been using it and liking it. 
We discovered, you and I, that this liquid 
shampoo really did get the hair clean, with 
the minimum of effort. We discovered that 
it would rinse out of the hair completely and 
quickly. But the best discovery of all was 

the shimmering new highlights that we found 
in our hair. We hadn't believed our hair 
could gleam so. Now the manufacturer of 
this miracle (to us) working shampoo comes 
forward with a second one, designed espe- 
cially for those of us who have dry hair. 

If your hair is the type that flies every 
which way, and just won't lie down where 
it's told after you've washed it, then you'll 
surely want to try the special new shampoo. 
It will cleanse your hair just as quickly and 
thoroughly as the first shampoo did, it rinses 
out just as easily, it leaves the same glinting 
lights in your hair, and added to that, it will 
make your unruly hair behave itself, take a 
wave beautifully, and stay in place without 
any back talk. The price of 10 cents, 60 
cents and one dollar a bottle goes for both 
types of shampoos. Do write me for the 
name of this grand aid to hair beauty. 

YOU can't wash your hair every day- 
even though it does collect dust and dirt 
by the pound. But you can keep your hair 
clean and shining by brushing it for ten 
minutes each night. These ten minutes of 
brushing with a clean brush will remove the 
dust of the streets from your locks, and 
they'll also stimulate the scalp and the tiny 
hair follicles in the scalp, to a more normal 
production of all the things that hair needs 
to be healthy. If your hair is very dry, 
brushing will help increase the production 
of oil in the tiny glands of the scalp. If your 




Quick Gains of 10 to 25 lbs. 
Reported with this New 
Ironized Yeast 

THERE'S no longer any excuse 
for thousands to remain skinny, 
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few weeks! 

Why it builds up so quick 

Scientists have discovered that 
hosts of people are thin and run- 
down only because they don't get 
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Now you get these exact miss- 
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They're made from one of the 
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Vitamin B — the special rich yeast 
used in making English ale. By a 
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combined with pasteurized Eng- 

lish ale yeast and 
three kinds of blood- 
strengthening iron. 

It's easy to see, then, why 
these new Ironized Yeast 
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new health, pep and pop- 

Make money-back test 

Get Ironized Teast tablets today. If with 
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—if you don't feel better, with more 
strength and pep — if you are not convinced 
that Ironized Yeast will give you the nor- 
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this first package will be promptly re- 
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your druggist today. 

Special offer! 

To start thousands building up their health 
right away, we make this special offer. 
Purchase a package of Ironized Yeast tab- 
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and mail it to us with a clipping of this 
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all druggists. Ironized Yeast Co., Inc., Dept. 
284, Atlanta, Ga. 

Posed by 



When Answering Advertisements, Please Mention April MOTION PICTURE 


Of course you want the natural appear- 
ance of long, dark , curling lashes — what 
woman doesn't? Well, there is no longer 
any possible excuse for blank, unat- 
tractive eyes or scraggly lashes when 
Maybelline Mascara is so reasonably 
priced. A few simple brush strokes of 
either the solid or cream-form will give 
your lashes radiant beauty instantly. 
Harmless, tear-proof, non-smarting, 
and keeps lashes soft and silky. Velvety 
Black, Midnight Blue, or rich shade 
of Brown Vanity size, in beautiful 
metal case or tube, 75c. Purse sizes 
at all 10c stores. Beautiful eyes are 
yours for the asking when you ask for 
Maybelline Mascara. 

iair is oily, on the other hand, that same ten 
minutes with a brush will help stimulate the 
oil glands and normalize the oil production. 

When selecting a hair brush for this im- 
portant rite, be sure to get one whose bristles 
are strong, and firmly imbedded in the 
brush itself. Get a brush whose chassis is 
built for wear and tear. 

A grand hair brush that fulfills all these 
requirements is the product of a well-known 
brush company. The extra stiff black bristles 
are firmly set in a narrow maple back. They 
are irregularily trimmed so as to more 
thoroughly cleanse the scalp, and polish the 
hair as the brush sweeps through. It mas- 
sages the scalp, stimulates the circulation, 
and encourages the healthy growth of the 
hair at the same time that it removes all 
foreign particles that may be in the hair or 
on the scalp. All this efficiency sells for the 
surprisingly small price of a dollar. I'll be 
delighted to give you the name. 

If your hair is beginning to show an end of 
the winter droopiness, and you don't see how 
you can wait till summer to get a new perma- 
nent, then don't. 

JUST the other day, I saw a demonstra- 
tion of a brand new permanent waving 
machine that makes any television control 
board look cheap by comparison. This ma- 
chine is run by dials. A twirl of one tunes 

Maybelline Eyebrow 
Pencil in Black, Blue, 
Brown. . . Maybelline 
Eye Shadow, in Blue, 
Blue-Gray, Brown 
Green, Violet. 



& &f a rtr>° n * 


Fashion decrees, and make-up experts 
agree that you must now harmonize 
your entire eye make-up. Match your 
Eyebrow Pencil and Eye Shadow with 
yourMascarafor naturalness — this is the 
newest note in beauty, and in no way 
can you achieve this better than with 
Maybelline Eye Beauty Aids. The ex- 
quisitely smooth-marking Maybelline 
Eyebrow Pencil forms lovely, graceful 
eyebrows — and a subtle touch of color- 
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wonders for the sparkle in your eyes. 

in just the right amount of current for your 
particular hair — be it dry or oily, coarse or 
fine, thin or gray. Another dial gives you 
just the right length of heating. Still an- 
other regulates the voltage — so that if the 
current comes into the beauty shop "below 
par" the voltage adjuster steps it up to 
normal, and vice versa. The machine makes 
both spiral and croquignole waves, of course, 
and if you'd like to try it for your next 
permanent I'd love to tell you more about it. 
Do you have trouble putting on mascara 
evenly, and getting all those little lashes 
coated? Then you'll be interested in the 
mascara I discovered the other day. It 
comes in a gay red and silver metal tube 
that looks just like a lipstick — grand to carry 
in the purse. When you take off the top, 
you'll find attached to it a tiny cylindrical 
brush, just the right size and shape to fit 
between those swooping lashes and your 
eyelids. The bristles are arranged in spiral 
fashion, so that when you twirl the mascara 
coated brush over your lashes, it colors not 
only the top and bottom, but also the sides 
of the lashes. The mascara itself is in solid 
form lining the side walls of the bottom of 
the tube, and easily coats the moistened 
brush. It won't smart if you get it in your 
eyes, and if you feel like a good cry, you can 
go right ahead without fear of runny mascara 
or flecks of color appearing on your cheeks. 
The colors are black, brown, and a grand 
blue for evening wear. The price of 25 
cents is so low I'm sure you'll want to write 
me for the name. 

If you want special help in making 
the most of your looks, why not send your 
picture and a description of yourself to 
Denise Caine? She'll be glad to send 
you new tricks of hairstyle, or of make-up 
that will create a new YOU. Be sure to 
enclose a self-addressed envelope, with 
3 cents in U. S. postage, when you write 
to her in care of MOTION PICTURE 
MAGAZINE, at 1501 Broadway in New 
York City. 

Maybelline Eye 
Cream to ward 
off eye wrinkles. 


Crows-feet, circles, and crepey lids 
detract so much from any woman's 
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the tender skin area around the eyes 
by using this beneficial Special Eye 
Cream. Apply it faithfully every night 
for most pleasing results. Liberal 
introductory sizes at ten cent stores. 



Accept No Substitutes! Always Insist on the Advertised Brand! 




[Continued from page 8] 

Among guests at Countess di Frasso's party (she's Hollywood's best party-thrower) 
were the J. Walter Rubens (Virginia Bruce), Fay Wray, Gary Coopers (Sandra Shaw) 

Eloping to Yuma with the gal known as 
Illeana, Stan made her Mrs. Laurel III at 
4 :30 a. m. the day after he got his final 
decree from Mrs. L. II. But the second 
Mrs. L. didn't take it without a kick. She, 
too, was present in Yuma and made con- 
versation about the divorce being illegal. 
Before it was over, she was calling Illeana 
"that Russian !" — and Illeana was counter- 
ing by calling her "that woman !" 

"I still love Stan and I'm trying to save 
him from himself!" announced No. II. 

"If that woman keeps trying to annoy us, 
I'll sue her !" replied Shuvaloya. 

"If she doesn't lemme alone, I'll stop her 

alimony !" thundered Laurel . 
things have been kinda quiet. 

Since then, 

Keep eyes on Cesar Romero and Virginia 
Field. Some say there might be a weddin' 

Donald Friede and Patricia Ellis 
— they're makin' other fellows jellis! 

MAYBE Olivia de Havilland can't be 
bothered with boy friends and lo-hove, 
what with her career keeping her so busy. 
But little sister Joan Fontaine isn't so low- 
temperatured. So don't be surprised if she 
elopes almost any moment with — of ALL 
people ! — Conrad Nagel . . . 

Dept.: — Tongue waggers are still- 
and-again swearing that Luise Rainer 
and Cliff Odets are on the verge of 

INCESSANT-DENIAL Dept. :— L u i s e 
Rainer and Clifford Odets are still-and- 
again denying that there's any coolness be- 
tween them. 

LI'L Davie Niven, that unpredictable 
j heaven's-g i f t-t o-lonely-m o v i e- 
queens, is certainly stepping 'round. 
Now that the Oberon is thousands of 

[Continued on page 73] 



"Smart girl-vou know I 

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when you tempt me with 
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real flavor — fresh, lusty 
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taste! Smooth on your 
tongue yet chockful of 
fresh pep. 

Of course it's this ingeni- 
ous airtight package that 
keeps Beeman's so extra 
fresh and flavorsome. I 
say — we ought to keep 
Beeman's on hand all 
the time!" 



When Answering Advertisements, Please Mention April MOTION PICTURE 


Skin Reueals 
Thrilling Beauty 

when cleansed 
this utterly different way 

REMARKABLE, silky-fine oatmeal powder, 
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Lavena protects skin against dryness, chapping 
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neutral cleansing, gentle softening and soothing 
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cream needed. Delightfully fragrant! Amazingly 
economical to use! 

Sprinkle Lavena in the bath water to help 
prevent distressing skin irritation known as 
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Good Housekeeping Approved 

Over 4 million packages already sold! Get 
Lavena from drug, department or 10c stores. 
Or write Lavena, Dept. 70, 141 West Jackson 
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lutely free. Copyright 1937, by the Lavena Corporation 

PHOTO Enlar gements 


Clear enlargement, bust, fall 
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The Man Who Doesn't Give a Darn 

[Continued from page 48] 

given some excellent roles on Broadway. 
The formula was working. 

It kept on working, even when he was 
fired from a certain show before it ever 
opened._ He told me the first half of that 
story himself. He is a chap who can enjoy 
a joke on himself. 

"The thing was," he said, "I thought the 
play was terrible and that I was terrible in 
it. Throughout the first week of rehearsal 
I nearly drove my wife crazy haranguing 
her about whether I should keep on in it or 
resign, come Saturday night. I was sure 
it wouldn't run two weeks after it opened. 
On the other hand I was getting $750 a week 
and I kept thinking how nice and handy 
that money would come in. I really was in 
an awful dither. 

"On Saturday morning, however, I went 
to rehearsal with my mind made up to re- 
sign. ^ I'd tell 'em the play was punk and 
that I'd have none of it. But during the day 
that old miser instinct in me got the upper 
hand and I didn't do it, much to my wife's 
disgust, incidentally, when I came home and 
confessed to another change of mind. 

"And then bright and early Sunday morn- 
ing I had a phone call. Apparently the 
management hadn't liked me any better than 
I liked the play. 'You're fired,' they told 
me, or words to that effect. And was my 
face red." 

WALTER said he didn't care, though, 
and I believe him, especially because 
of what happened immediately afterward. 
This part of the story a certain New York 
producer told me himself. 

It seems that this producer heard Waltei 
was no longer in the play he had been re- 
hearsing and needing him for a part in one 
of his own plays, asked him to drop around. 
At the appointed hour Walter was there. 

"I hear you resigned from Such and 
Such," the producer told- Walter tactfully. 
Why rub it in that a guy had been fired, he 
thought. Better to just smooth it over. 
But Walter would have none of that. 

"Cripes, no !" he snapped. "I was fired." 

Whereupon the producer laughed and, in- 
trigued by such refreshing candor, gave 
Walter the part at a better salary than he 
had planned to offer at first. But probably 
Walter wouldn't have cared if he hadn't. 
I think he really is that way . . . 

He is an outspoken individual, as you may 
have gathered. Offered a fine contract once 
upon a time, by a well-known Hollywood 
producer, he called to protest against the 
first role this contract would call for him 
to play. 

"You don't care for the role?" the pro- 
ducer asked smoothly. 

"No, I don't," Walter retorted. "It's 

The other protested. "Why, we think it 
the best part in the picture !" 

"So," Walter came back, "do I. The 
trouble is, the whole picture's lousy." 

"And that frank little comment cost me 
my contract," he confided. "You see, the 
producer had written the scenario him- 
self . . ." 

He laughed as he reminisced, as I was 
certain he also laughed when he lost the 
contract. He has a way of laughing at 
most things and you like him for it. You 
would like Walter Pidgeon for a lot of 
things, for that matter — one of them being 
the fact that he is such a "regular guy" as 
Mickey Rooney, one of his special fans, 
puts it. 

OF COURSE, he is not a typical Holly- 
wood "great lover," despite his six feet, 
three inches ; his slick black hair and Irish 
blue eyes. He would be the last one to want 
to pose as such. He is, instead, a friendly, 
likable chap, "old enough to have some 
sense," to quote himself, and with "a wife 
that's swell and a kid that's swell," also to 
quote himself. 

He was born in St. John, New Brunswick, 
the son of a wholesale mercantile man. He 
never thought of going on the stage until 
he was grown and became the great friend 
of E. E. Clive, the famous actor and pro- 

"Although," he admitted to me, "I always 
had a hankering for the stage, perhaps be- 
cause when I was a kid I dearly loved to 
show off. I remember my first 'important 
appearance' was during my high-school days 
in a play called The House Next Door. It 
was quite a melodrama and I, in the ro- 
mantic lead, considered myself a second John 
Barrymore. I shudder now to think how 
awful I must have been." 

Finishing college, he became a stock- 
broker, but only for a year or two. By 
this time his friendship with Clive had 
materialized and he was getting a taste of 
the footlights. 

"Which I liked," he says. "I told you I 
always was partial to showing off." And 
so he became an actor. After his color 
"fiasco" (his own term) and his trip to 
Europe, his success in Broadway plays in- 
spired Hollywood again to invite him west. 
Now he is under contract to M-G-M. 

DESPITE his gaily insousciant attitude 
toward bad luck and bad breaks, he 
has had his share . . . Went through the 
World War, for one thing, seeing plenty of 
overseas service, and that's not easy for any 
man. After that his young wife died when 
their first child was born and that's not 
easy for any man, either. 

Followed nine long years during which 
the companionship of his little girl, Edna, 
better known as "Pidge," grew to mean 
more and more to him and he believed with 
increasing certainty that he would never 
marry again. He did, though, six years 
ago and he and his attractive wife seem to 
be setting an excellent example of a happy 
Hollywood marriage. 

As for "Pidge" . . . She attends a girls' 
school near San Francisco and was due to 
arrive home for the holidays the day after 
I talked to Walter. He already had tele- 
phoned certain department stores and shops 
warning them against "a young bandit 
given to taking undue liberties with her 
dad's charge account." 

"The little nut. She reads in the papers 
how Clark Gable makes five or six thou- 
sand dollars a week and she thinks I am 
doing it, too," he complained. But when 
he showed me the list of things he had 
bought her for Christmas I saw that Clark 
couldn't have done much better. 

"It's fun, shopping for the kid," Walter 
said. He was smiling as he usually does, 
but his direct blue eyes had a look in them 
that made me realize just how lucky young 
"Pidge" is to have him for a father. Be- 
cause while he may not "give a darn" about 
producers and contracts and fame and suc- 
cess, there is one thing Walter Pidgeon 
gives a great many "darns" about — his little 


Accept No Substitutes ! Always Insist on the Advertised Brand i 


[Continued from page 71] 

Some say that prize-catch Jon Hall plays 
the field. Gertrude Niesen says "Untrue" 

miles away in London, Davie is passing 
his personality around freely, recip- 
ients ranging from just plain stock- 
actress Dolores Casey to Top-Star 
Norma Shearer, not overlooking a few 
Simone Simon interludes . . . ! 

Fiddler Rubinoff and Dorothy Ates 
Are having lots of heavy dates. 

HOW to Keep Your Husband: 
Keep away from him! — it's 
Madeleine Carroll's secret. After four 
years of matrimony, she's still got 
Hubby Philip Astley, British captain, 
under full rein and control. The other 
day, she got back to Hollywood after a 
four months European idyll with him 
and explained — "There's lots of truth 
in that old adage about 'absence makes 
the heart grow fonder.' Being away 
from my husband and then going back 
to him gives a measure of piquant 
zest to marriage." She means it gives 
matrimony a kick! 

Andrea Leeds and Ken Murray — 
'Way down deep in a cardiac flurry ! 

SAMMY GOLDWYN'S beautiful- 
body boy, Jon Hall, is getting him- 
self doubled up with so-o-o-o-o many 
gals in the Hollywood gossip marts . . . 
Among his twosome-sidekicks, accord- 
ing to the chatter around town, are 
Vicki Lester; magazine secretary Edith 
LaMonte; Sandra Storme; Helen 
Meinardi; Gertrude Niesen. 

DENIAL-of-the-M N T H : — From 
Mrs. Buddy Rogers (Mary Pickford 
to you!), official denial of the rumor that 
she's going to have a baby. 

ALWAYS in the forefront of Holly- 
£\. woodsters who not only talk but 
practice utter modernity have been 
Miriam Hopkins and Austin Parker, 
to whom she was once married. Better 
friends than he and she aren't possible. 
Never do Hollywood hostesses have to 
worry about inviting them both to 
parties. And one of the first to felici- 
tate Miriam when she married 
Anatole Litvak recently was ex-hubby 
Austin Parker, who sent posies and 
best wishes ... But even that has been 
surpassed by the latest stunt: Austin 
has actually moved into the Miriam 
Hopkins menage while Miriam and 
Hubby Litvak went East! He's keep- 
ing Miriam's little son, Michael, from 
being lonely until mama rejoins him! 

MAYBE you don't remember Mona 
Darkfeather? She used to be a star 
in the silent days. And probably the name 
of Frank Montgomery is all a mystery to 
you, too. No ; he's no relative of Bob's. 
Frank used to be a bigshot director in the 
silent days. The other day, they got mar- 
ried. Mona's 54, now ; Frank is 57 . . . But 
what gives Hollywood reason to recall these 
two, with news of their marriage, is the 
fact that 'way back in 1912, when she was a 
Selig star and Frank was directing her, they 
were married. In 1928, they were divorced 
. . . But they're just too old-fashioned to 
stick to this divorce business. They just 
couldn't take it. So they got married again. 

Ronald Reagan and Rosemary 
Billing and cooing with might an' 

H- — HO — HUMmmmmmmmm note: 
Glenda Farrell and Drew Eberson 
have made up again. 

WELL, it was inevitable. No gal 
can attain movie stardom and 
keep out of the romance columns, can 
she? Not even Janie Withers, even 
though she's only 11 — and so your 
faithful Tattler hastens to report that 
Janie is being dated by Buddy 
McAllister, who goes to the same 
Sunday School with her, and who took 
her to the Sunday School party the 
other evening. 

A HALF year ago, Dorothy Lamour told 
your ol' Tattfer that some day, she and 
hubby, Herb Kay, wanted a baby of their 
own. At that time, Paramount was doing- 
its darndest to play down the fact of 
■[Continued on page 76] 

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Did England Change Bob Taylor? 

[Continued from page 23] 

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little more ruddy-complexioned, perhaps. 
A little in need of his second shave of the 
day — as always, late in the afternoon. His 
clothes certainly weren't Bond Street. They 
were decidedly Hollywood. No other place 
on earth could possibly have produced a 
sport coat with checks that loud and that 
large. Or slacks that commodious. 

His greeting wasn't "Cheerio" or any- 
thing else blithely British. It was "Hello — 
have a seat." Like one of the boys at the 
club dealing in a new hand. And it was 
"have a seat," not "hahve a scat." There 
was no British intonation. And his hand- 
clasp had no British reticence. It was what 
is known as a Nebraska bone-cruncher. 

Over the first cup of coffee (not tea) and 
the first cigarette (American), I asked him 
what he meant by bringing back a British 
complexion. He grinned. "That isn't com- 
plexion," he said. "That's a permanent 
blush. Boy," he shook his head in mute 
wonder, "when I think of all the food I ate 
in England. I defy anybody to live in that 
climate and not stow it away. Not that that 
was exactly, a hardship — for me." 

Bob, as you may have heard, likes to eat. 
It's a sort of permanent tribute, on his part, 
to a rural American upbringing. 

But he didn't go on from there to describe 
the habits he indulged, or acquired, living 
among the Britons. He still is no walking 
autobiography, no teller of tales about him- 
self. It seems to be physically impossible 
for him to dramatize himself. It is one of 
his most likable traits, one of the greatest 
secrets of his popularity. He isn't theatrical. 
He is merely living life as he finds it. 

You feel comfortable with a person like 
that. You enjoy being with him. But if 
you are interviewing him, you have to talk 
as much as he does — because, when Bob 
answers a question, he answers it in a 
sentence, not a paragraph. And England 
hasn't changed him in that respect. He 
hasn't gone more reticent. He has merely 
stayed as reticent as he always has been. 
He's still willing to talk. But, to get him 
to say anything, you still have to ask 

I WAS with him, for example, for an hour 
or longer. As old acquaintances, we 
were completely at ease with each other. Yet 
every item of information that I obtained. I 
asked for. Piece by piece, from Bob's 
answers, I got an impression of what he 
did abroad, and what England did for him. 

The jaunt to England was no location 
trip for outdoors shots for A Yank at 
Oxford. The entire picture was made there, 
as an M-G-M good-will gesture. 

Bob knew, weeks before he sailed, that 
he was going. He had plenty of time to 
prepare for the trip. Too much time to get 
as much of a bang out of actually sailing as 
he did out of the first news that he was 
going. Things like that can happen to you 
and me, easily enough. Well, they can 
happen to a Robert Taylor, too. 

"Besides," he said, "I had a pretty good 
idea of what was ahead of me. Twelve or 
thirteen weeks of hard work, in unfamiliar 
surroundings. It wasn't going to be any 
vacation trip, any sight-seeing tour. But 
don't get me wrong. I wanted to go. I've 
got a yen for travel that hasn't been any- 
where near satisfied yet. Why, this trip to 
England was only the second time I had 
been in. New York. Only the third time I 
had been east of Detroit." 

He didn't know how much he would see, 

but what he did see he wanted to share with 
someone. It isn't much fun sighting new 
worlds alone. That was how Don Miloe 
happened to go along. Don originally came 
from a small town in Oklahoma ; Bob came 
from a small town in Nebraska. That, and 
acting ambitions, drew them together ; they 
teamed up as Hollywood roommates, helped 
each other keep up their chins living on 
allowances from home, and had ideas about 
conquering the world, and seeing the world, ■ 

The breaks came Bob's way more than 
Don's. For a while, early in Bob's career, 
Don was his stand-in, as well as inseparable 
companion. Then, neither of them hopeful 
about Don's getting anywhere as a stand-in, 
he went back into Little Theatre work. But 
when Bob had a chance to do a little of that 
traveling they had once talked about, Bob 
didn't forget. He saw to it that they trav- 
eled together. 

If Bob shows no ill effects of his mal- 
treatment by Manhattan reporters, no 
sourness on life, part of the credit goes 
to Don Miloe. Or to Bob's impulse to 
have a pal with him. Having Don along 
helped him to toss off the badgering 
lightly, laugh at it and at himself. It 
helped him to have the nerve to come 
back via New York, against the counsel 
of worried advisers, and face the mayhem 
music a second time. (Jot this down in 
your memory book: Bob didn't dodge 
back into America by a side door. He 
came in the front door.) 

Speaking of Don, Bob said, "But it looks 
like my last trip with that fellow." There 
was a note of genuine regret in his voice. 
"I'm afraid he's going to walk up to an altar 
any day now," he added, in explanation. 
"He's got it bad. He may be married al- 
ready, for all I know." 

(Bob didn't go so far as to say that he 
didn't have any marrying ideas, himself. 
But he made it sound as if he didn't have 
any today, at least. He made it sound as 
if he had some more bachelor trips in mind. 
Make of that what you will.) 

M-G-M had been pounding the publicity 
drums in England, ballyhooing his 
coming. Bob had no way of knowing what 
the reception would be — particularly after 
New York. But he took his chances. He 
went off the Bcrengaria by the main gang- 
plank, not some secret exit. British news- 
papermen — twenty-five or thirty strong — 
boarded the boat at Cherbourg, rode across 
the Channel to Southampton with him. 

"I had a lot of fun with those reporters, 
a lot of laughs . . . Yeah, I guess that goes 
under the heading of news : Taylor Has 
Good Time with Reporters . . . They seemed 
more interested in my public life than my 
private life. That was a change I thrived on. 
They wanted to know what I'd been doing 
lately, in a picture way; the plans for the 
picture over there ; whether or not I was 
happy to come to England. They seemed 
more interested in telling me about England, 
than asking me what / thought about it. 
That was swell . . ." 

The boat docked in late afternoon. There 
was a big crowd on the pier — "but no 
trouble." (I. e., no mob mauling.) Bob 
had his choice of going up to London by car 
or by boat train. He picked the transporta- 
tion everybody else took — the boat train. 
It was the quickest. And it looked like the 
easiest. The train wouldn't pull into Water- 
loo Station until after dark. There wouldn't 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

Did England Change Bob Taylor? 

[Continued from page 75] 

"Something else I got a kick out of was the 
little bug of a car I drove back and forth. 
An M. G. It was so low I could reach out 
and strike a match on the pavement any 
time I felt like it. It had no top, and it 
made a noise like an outboard motor. But 
how that bug could travel ! I scared every- 
body with the thing, including myself." 

Bob likes to travel fast. That was why 
he saw what he did see of Europe by plane. 
They told him he could have two weeks 
while they looked at the rushes and decided 
whether or not there would be any retakes. 
He hopped a plane to Paris, for a second 
visit. Then to Amsterdam, Berlin, Copen- 
hagen, Stockholm. 

"I got a perspective on these countries 
quickly. For instance, in the time I had 
to spend there, I know I couldn't have got, 
any other way, a snap idea of Holland that 
was a pip. Why did I head for the Scandi- 
navian countries ? I've always been inter- 
ested in them. I like their kind of scenery. 
They're a little off the beaten path, too. 

"Paris is a gay town. You can't pass 
along the street without seeing people laugh- 
ing, having a good time. Copenhagen is the 
same way. So is Stockholm — and without 
night-clubs. One thing I liked about those 
Northern countries" — he laughed — "they 
had retiring reporters." 

I asked him if the Swedes had heard the 
advertising legend for Camille — "Garbo 
Loves Robert Taylor." It gave him a laugh. 
"I hope not," he said. 

HE WENT to one theatre while he was 
abroad. That was in London. After he 
finished his picture, he saw a few night- 
clubs — enough to come to the conclusion that 
"they're the same the world over." He didn't 
go out with girls. When he wasn't with a 
party, he was "stagging it with a bunch of 
fellows, out to see what was going on, and 
hear some music." Offhand, I'd say he left 
his heart in Hollywood. 

Does Bob, himself, think he has changed 
in any way, because of England? 

"No-o," he said, considering long. "I 
don't see how I could, in four months. 
Especially with the kind of life I led over 
there. It was even quieter than the life I 
lead here, which God knows isn't riotous, 
despite its rush. 

"I guess maybe I can sit back and be more 
philosophical about things. Getting away 
was good for me. It gave me a little per- 
spective. I learned that there are other 
places on earth besides Hollywood, other 
lives that are interesting ... I have more to 
talk about, if people are willing to listen- — 
places I've seen, people I've met . . . Travel 
gives you a little more confidence in your 
ability to handle unexpected situations. 
They're always coming up on a trip, es- 
pecially abroad. Ordering meals in other 
languages, talking with all kinds of people, 
getting places. I feel more alert than when 
I went away. Travel gives you that definite 
benefit : it puts you on your toes. 

"But do you know the principal effect the 
trip has had on me ? It's made my urge for 
travel worse. Already, I've got a terrific 
yen to go back. To the Continent, par- 
ticularly. I still haven't seen that blue 
Mediterranean. But I'd like to be able to go 
and see it without having to work . . .If that 
could happen, then maybe there ivould be a 
big change." 

Particularly, if it happened to be a honey- 
moon trip. But he didn't say that. 



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the TALKIE TOWN tattler 

[Continued from page 76] 

Among the guests at Hollywood events are Herbert Marshall and best pal, Lee Russell 

are really Mr. and Mrs. On the license, 
it reads "Priscilla J. Shortridge and 
Harry Ueberoth." 

Eleanor Powell and Billy Seymour. 
Are they "that way" ? They couldn't be 


. . . Claire Trevor and Bentley Ryan . . . 
Carolyn Mason and Lee Dixon . . . Allan 
Fairman and Alice Brady . . . Jack Woody 
and Lenore White . . . 

Cliff Edwards and Patricia Craig 
Snugglin' closer than Haig-and-Haig! 

> : "M^ EARLY wedding for Ida Lupino and 

f Ronnie Colman and Benita Hume -^ Louis Hayward. Say Ida and Louis 

once again saymg no to rumors 
they're secretly married. 

TWOSOMES-at-the-niteries :— Patricia 
Wilder and the Earl of Warwick . . . 
Bill Davey and Pauline Frederick . . . Jane 
Mullen and Art Jarrett . . . Virginia Barnato 
and Jack Dunn . . . Virginia Fields and Vic 
Orsatti, who used to be married to June 
Lang . . . June Lang and A. C. Blumenthal, 
but Peggy Fears says she has no intention 
of divorcing A. C. . . . Bill Frawley and 
Nancy Lyons . . . Bob Riskin and Julia 
Bond . . . Will Rogers' daughter, Mary, and 
Carl Laemmle's son, Carl . . . it's Busby 
Berkeley and Eleanor Bailey, now . . . 
RKO's Cynthia Westlake and Director Ed 
Ludwig . . . Louise Brooks and Addison 
Randall . . . Anne Nagel, widow of Ross 
Alexander, and Anthony Averill . . . B. P. 
Schnlberg and Aileen Pringle . . . Hedy 
LaMarr and Reg Gardiner . . . Don Barry 
and Lana Turner . . . Rudy Vallee and 
Dorothy Hutchinson, just in from England 
. . . Bill Faye (he's Alice's brother) and 
Constance Moore . . . Eddie Cantor's daugh- 
ter, Edna, and songwriter Jimmie McHugh 

— "we want to make big names for ourselves 

MARRY Dept.:— Robert Wilcox 
and Joy Hodges. They're engaged, 
but she's in NY and he's in Hollywood, 
and they can't see each other . . . 
Dixie Dunbar and Bob Herndon. 
They're still like that and how . • . 
Humphrey Bogart and Mayo Methot. 
He has just bought a house, and it 
looks like honeymoon cottage as soon 
as divorce business is clear ... Gloria 
Dickson and Perc Westmore. This 
looks like a sure thing in June . . . 
Lita Grey Chaplin and her manager, 
Arthur Dey . . . Broderick Crawford 
and Rita Johnson, and you ought to 
see the diamond ring that says they 
will! . . . Nell Atkinson and Gene 
Leonard. He's a broker, and she's 
from a family that runs to standing- 
inning. Nell is Madeleine Carroll's 
stand-in and her dad is George Arliss' 
stand-in ... Songwriter Nacio Herb 
Brown and Doris Eaton. 


Accept No Substitutes! Always Insist on the Advertised Brand! 

Who's Whose in Hollywood 

[Continued from page 36] 

Suzanne Kilborn. Children: Brooks and Cynthia. 

MORRIS, WAYNE— Played the field until the 
press-agents rumored a romance with Priscilla 
Lane, just for fun and publicity. But Wayne seems 
to be taking them seriously. 

MOWBRAY, ALAN — Merrily married to Lor- 
raine Carpenter, former Chicago Junior Leaguer. 
Their children — Patricia and Alan, Jr. — nicknamed 
"P. M." and "A. M." 

MUIR, JEAN — Rumored to be keeping Richard 
Watts, Jr., New York critic, waiting at the altar. 

MUNI, PAUL — His favorite critic is a woman — 
Bella Finkel, long Mrs. Muni. Now honeymooning 
again, abroad. 

MURPHY, GEORGE— On December 28, 1926, 
in the Little Church Around the Corner, married 
Juliette Johnson, his dancing partner. 

MURRAY, KEN — Divorced from Charlotte 
Doncourt in 1934. Recently engaged to singer 
Florence Heller. 

NAGEL, CONRAD — Formerly married to Ruth 
Helms. Divorced in 1934. Has a young daughter 
in her teens from this union. Rumored to be keenly 
interested in Joan Fontaine, sister of Olivia de 

NIVEN, DAVID— Has said: "Before I do any 
settling down, I've got to be sure that I've sown 
every wild oat that might possibly interest me." 
Seriously enjoys company of Simone Simon. Ditto 
Norma Shearer. 

NOLAN, LLOYD — In three weeks won actress 
Mel I ford, who hated him at first sight. That was 
in 1932. Inseparable today. 

NORRIS, EDWARD — Married to Ann 
Sheridan since August, 1936. 

NOVARRO, RAMON— Phenomenally single. 

OAKIE, JACK— "The Playboy of the Western 
World" settled down when he married Venita 
Yarden, Follies beauty, on a train platform at 
Yuma. Summer 1936. 

OBERON, MERLE — All romance rumors to 
date have been — just rumors. Even the David 
Niven ones, which have them "testing love by 

O'BRIEN, GEORGE— See Marguerite 

O'BRIEN, -PAT — Completely sold on married 
life with Eloise Taylor. Raves for hours on end 
about two adopted children: Mavourneen and 

O'KEEFE— DENNIS— As Pat Flanagan, mar- 
ried. As Dennis O'Keefe, rumored about to be 

OLAXD, WARNER— Charlie Chan recently in 
courtroom to hear long-time wife, socialite-painter 
Edith Shearn, ask for legal separation. 

OLIYER, EDNA MAY— Tried marriage once, 
briefly, early in life — with one D. W. Pratt — and 
it didn't "take." 

OLIVER, GORDO N— Torn between Anne 
Nagel, widow of Ross Alexander, and tennis 
champ Kay Stammers. 

O'SULLIVAN, MAUREEN— Long engaged to 
writer-director John Farrow, until Papal dispen- 
sation to marry him Aug. 1936. He was previously 

OWEN, R E G I N A L D— In private life the 
absent-minded husband of Billey Ediss. 

OARKER. CECILIA— Re-enacting Ah, Wilder- 
■*- ncss with Eric Linden — off-screen. 

PARKER, JEAN— Married at 20, Spring 1936, 
to newspaperman George MacDonald. 

PARKY AKARKUS— T helm a Leeds became 
Mrs. Harry Einstein February 7, 1937. 

PATERSON, PAT— See Charles Boyer. 

PATRICK, GAIL— Eloped to Tijuana, Mexico, 
December. 1936, with Robert Cobb, who operates 
the Brown Derbies. Hadn't seriously considered 
marriage until day she eloped, 

PAYNE, JOHN— When Owen Davis, Jr., 
stepped out of Anne Shirley's life (allegedly on 
request), John stepped in. They were married 
August 22, 1937. 

PENNER, JOE— The same girl who shared his 
struggles now shares his success — Eleanor May 
\ okes. 

PICKFORD, MARY— No. 1: Owen Moore 
(divorced 1920). No. 2: Douglas Fairbanks, with 
whom she founded Pickfair. (Married 1920, di- 
vorced 1933.) No. 3: Buddv Rogers, married 
June 26, 1937. It's "Goodbye Pickfair" now. 

PIDGEON. WALTER— Married to Ruth 

PITTS, ZASU— Divorced promoter Tom Gal- 
lery January, 1932, after long marriage. Had child, 
Ann, born ir- 1922, and adopted son of late 

Barbara La Marr. Married to Edward Woodall, 
tennis expert, since 1933. 

PONS, LILY — Retired from Paris acting career 
when she married August M e s r i t z, wealthy 
Dutch widower. He urged her to cultivate singing 
voice and lost her — to opera. Now suspected of 
being married to, or about to marry, orchestra 
conductor Andre Kostelanetz. 

POWELL, DICK— His first wife, Mildred 
Maund, wanted him to give up the theatre. Instead, 
he gave up Mildred — in 1933. In September, 1936 
he married his frequent co-star, Joan Blondell. 

POWELL, ELEANOR— To date, too busy to 

POWELL, WILLIAM— Oji April 15, 1915 mar- 
ried Eileen Wilson, who gave him a son, William 
D., and, still later, gave him a divorce. In 1931 
married his leading lady, Carole Lombard; di- 
vorced two years later. He and Jean Harlow 
were in love, talking marriage, when she died 
June 7, 1937. Powell broken-hearted since. 

POWER, TYRONE — "Romances" with Sonja 
Henie, Loretta Young, just publicity. Janet 
Gaynor "romance" looks more serious. 

PROUTY, JED— The harried head of the Jones 
Family is childless in real life, but married — to 
Marian Murray, star of old Essanay Company. 

PURCELL, DICK— Once engaged to June 
Travis. A man-about-town since. 

QUINN, ANTHONY — Nicknamed Anthony de 
Quinn since wedding Katherine De Mille. 

"DAFT. GEORGE— Long thought a bachelor. 
-"■ Then admitted separation from one Grace 
Mulrooney. When and if free will marry actress 
Virginia Peine, ex-wife of millionaire Edward 
Lehmann, Jr. Old story of Raft "son" a canard. 
Boy is son of George's dead sister, Katherine. 

RAINER, LUISE— There is a legend of early 
fiance dying in air crash abroad. Married play- 
wright Clifford Odets January 8, 1937. 

RAINS, CLAUDE— No. 1: Isabel Jeans (div.). 
No. 2: Marie Hemingway (div.). No. 3: Beatrix 
Thompson (div.). No. 4- — present wife: Frances 

RATHBONE, BASIL— By hrief, unhappy first 
marriage (to Ethel Forman) had son, Rodion, now 
grown. Happily married a number of years to 
scenarist Ouida Bergere. 

RATOFF, GREGORY— Long-distance husband 
of stage-actress Eugenie Leontovich, married in 
1922. Each thinks other greatest thespian in 
world. He says: "As long as we keep fooling 
each other, we'll have no problems." 

RAY, LEAH — Her big romance is scenarist 
Jerry Wald. 

RAYE, MARTHA— Eloped to Las Vegas May 
30, 1937, with Hamilton (Buddy) Westmore. 
Divorced him just 121 days later. 

RAYMOND, GENE— See Jeanette MacDonald. 

READ, BARBARA — Married artist William 
Paul III, September, 1936. Separated two months 
later. About to sue for divorce. 

REAGAN, RONALD— One of the eligibles. 

REGAN. PHIL— Hollywood didn't know until 
December 22, 1936, that he had been married 
nearly 13 years to Josephine Dwyer and had four 
children: Joseph, Phil, Jr., Joan Anne and 

REYNOLDS, CRAIG— At 18 married high- 
school sweetheart and had daughter, Andrie, now 10. 
Divorced several years. Now courting Gertrude 

RHODES. ERIC— Happily unmarried. 

RICE, FLORENCE — Many romance rumors; 
no marriages. 

RITZ BROTHERS— Harry: married to Char- 
lotte Greenfield. Al: married to Annette Nelson, 
once his dancing partner. Jimmy: as this is 
written, about to marry starlet Ruth Hilliard. 

ROBERTI, LYDA— In private life, Mrs. Hugh 
(Bud) Ernst. 

ROBERTS. BEVERLY— Engaged to director 
William Keighley. 

ROBINSON. EDWARD G.— Little Caesar's 
wife and mother of Little Caesar II (Edward Jr.) 
is actress Gladys Lloyd. 

ROBSON, MAY — Twice a widow, several times 
a grandmother. 

he married Mary Pickford. 

ROGERS, GINGER— Married briefly in her 
teens to one Jack Culpepper, vaudevillian. Mar- 
ried Lew Ayres November 14, 1934. Separated 
past two years. Balks new marriage rumors by 
postponing divorce. 

ROME'RO, CESAR— Plays night-club Romeo 
to succession of Juliets. 

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ROSS, LANNY — In 1935 married divorcee 
Olive White, his manager. Lost baby June, 1937. 

ROSS, SHIRLEY— Scheduled to marry assis- 
tant director Eddie Anderson when his divorce 
became final November, 1937, but wedding post- 

RUGGLES, CHARLIE— Divorced from Adele 
Rowland. Now married only on screen. 

RUSSELL, ROSALIND— Confirmed bachelor 
girl who has recently shown signs of becoming less 
confirmed — with James Stewart a-calling. 

C ANDERS, GEORGE— Says: "Hollywood is so 
"^ full of beautiful girls, it is difficult to remain 
a bachelor." Still nobly trying. 

actress Elise Bartlett, married to actress Mary 

SCOTT, RANDOLPH — Long-distance husband 
of Virginia socialite, former Mrs. Marion DuPont 
Somerville, whom he married March 23, 1936. 
He commutes East between pictures to see her. 

SHEARER, NORM A— Widow of producer 
Irving Thalberg, who died September 14, 1936. 
Married September 29, 1928. Has two children: 
Irving, Jr., and Elizabeth. 

SHELTON, MARLA— First husband: Richard 
Polimor, theatre executive. Second: Jack Dawn, 
make-up expert, whom she married May 28, 1937, 
afterward honeymooning in trailer. 

SHERIDAN, ANN— See Edward Norris. 

SHIRLEY, ANNE— See John Payne. 

SIDNEY, SYLVIA — Long expected to marry 
producer B. P. Schulberg, she married publisher 
Bennett Cerf, instead, in 1935. Divorced a few 
months later. No serious romance rumors since. 

SIMON, SIMONE — Marriage abroad rumored, 
but not proved. Mysterious about her heart inter- 
ests. Romance rumors have linked her with French 
director Marc Allegret, Paris publisher Francois 
Louis-Dreyfuss, producer Gene Markey, actor 
David Niven, among others. 

SINGLETON, PENNY— The former Dorothy 
McNulty changed even her screen name when she 
married Lawrence S. Singleton, October 15, 1937. 

SONDFRGAARD, GALE— One reason why she 
takes direction so cleverly: she's married to director 
Herbert Biberman. 

SOTHERN, ANN— Her first marriage, little 
known about, was an adolescent mistake, quickly 
cancelled. Married Roger Pryor, orchestra leader, 
September 27, 1936, climaxing four-year romance. 
Travels thousands of miles between pictures to be 
with him. When working, a bachelor bride. 

STANDER, LIONEL— Won default divorce 
from one Lucy Stander, September 22, 1936. Has 
3-year-old daughter in East with ex-wife. Rumored 
secretly married to secretary and constant com- 
panion, Alice Twitchell. 

STANWYCK, B A R B A R A— Divorced from 
Frank Fay, December, 1935, after eight years of 
marriage. Has 5-year-old adopted son, Dion. That 
Robert Taylor romance isn't publicity. 

STARRETT. CHARLES— M arried since 
Senior year at Dartmouth to Mary McKinnon, 
Junior Leaguer. Has 8-year-old twin boys, Charles 
and David. 

STEN, ANNA— Married, since before Holly- 
wood, to Dr. Eugene Frenke, famed European 

STEPHENS, HARVEY— Has a long-term 
marriage contract with Beatrice Nichols. 

STEWART, JAMES— One of Hollywood's 
most eligible bachelors. Lately attentive to 
Rosalind Russell. 

STONE, FRED— Married practically half his 
life to his onetime leading lady, Aileen Crater. 
Has three actress-daughters: Dorothy, Paula and 

STONE, LEWIS— First married to Margaret 
Langham, who died. Then long married to actress 
Florence Oakley; divorced in 1929. Now married 
to Hazel Woof. 

STRADNER, ROSE— Denies any marriages 
abroad, but confesses heart interest there. Holly- 
wood suitors undiscouraged, however. 

STUART, GLORIA— Soon after college mar- 
ried sculptor Blair Newell. Their marriage a 
famous experiment of separate abodes — which 
didn't work. Divorced July 2, 1934. On July 26, 
1934, married scenarist Arthur Sheekman. 
Daughter Sylvia born 1935. 

SULLAVAN, MARGARET— First married to 
Henry Fonda — when both were unknown; divorced, 
1933. Married Director William Wyler, November, 
1934; divorced, March, 1936. Now married to 
Leland Hayward, actors' agent, who was once 
rumored secretly married to Katharine Hepburn. 
Daughter born July 5, 1937. 

SWANSON, GLORIA— No. 1: Wallace Beery 
(1916-17). No. 2: The late Herbert K. Somborn, 
founder of Brown Derby, whom she divorced in 
1923, and by whom she had a daughter, Gloria. 
No. 3: Marquis Henri de la Falaise (1925-31). 
No. 4: Michael Farmer (1931-34), by whom she 
had daughter, Michele Bridget. Miss Swanson 
also has an adopted boy, Joseph, a year younger 
than little Gloria. 

SWARTIIOUT, G L A D Y S— First married 
(1925) to Harry Richmond Kern, who died Oct. 
20, 1931. Married concert singer Frank Chapman, 
Jr., in 1932. 

HpALBOT, LYLE — Abandoned bachelorhood for 
-*- Mariorie Cramer, New York socialite, March 
28. 1937. 

TALLEY, MARION— Married Michael Rauch- 
eisen, German pianist, June, 1932. Divorced seven 
months later. Married Adolphe Eckstrom March 
23. 1935. 

TALLICHET, MARGARET— A candidate for 
romance rumors. 

TAMIROFF, AKIM — Married pre-Hollywood 
to Tamara Shayne. 

TAYLOR, KENT — Once married (to Augusta 
Kulek). twice a father. 

TAYLOR, ROBERT— In his Pomona College 
days loved and lost a Scripps College girl. For 
past year and a half has concentrated attentions 
upon Barbara Stanwyck. Marriage looks im- 

TEASDALE, VERREE— Adolphe Menjou is 
her second husband. William O'Neal was her first. 

TIBBETT, LAWRENCE— M arried long to 
Grace Smith, school-teacher, by whom he had 
twin sons, now 20. Divorced in 1931. Married 
since 1932 to socialite divorcee Jennie Marston 
Adams Burgard. Son born August, 1933. 

TONE, FRANCHOT— Joan Crawford is the 
first Mrs. Tone. 

TRACY, LEE — It looked once as if he might 
marry Isabel Jewell. No marriage rumors since. 

TRACY, SPENCER — Long married to actress 
Louise Treadwell. Has two children, a girl and a 
boy (tragically deaf since illness as baby). 

TRAVIS, JUNE — Holding hands recently with 
Ronald Reagan. 

TREACHER, ARTHUR — Rumored once briefly 
and unhappily married, in England. Won't con- 
firm rumors — or deny them. 

TRENT, JOHN — Married since early flying 
days in 1930. Has one child. 

TREVOR, CLAIRE — An exponent of the quiet 
single life. Says she had her heart broken early 
and hasn't thought of marriage since. Oh yeah? 

TUCKER, SOPHIE — At 16, married one Louis 
Tuck, who later died. At 17, to support baby, 
added "er" to name and went on stage. Later 
married and divorced (1) Frank Westphal (2) 
Albert Lackerman. 

TURNER, LANA — All the boys like Lana. 
She prefers Tim Holt. Or Don Barry. 

TWELVETREES, HELEN— Her name is a 
holdover from first marriage — to . actor Clark 
Twelvetrees. Since married to. and divorced from, 
realtor Frank Woody, by whom she had son in 

VALLEE, RUDY — Briefly and unhappily mar- 
ried before fame as Vagabond Lover. Secretly 
married actress Fay Webb, July, 1931; separated 
year later; divorced May, 1936. She died Nov., 
1936. New interest: Gloria Youngblood, among 

VELEZ, LUPE — Tarzan's mate since Oct. 8, 
1933. Marriage to Johnny Weissmuller has been 
stormy, but still is in force. Recent reports of 
their celebrating fifth anniversary were premature. 
Note marriage date. 

VENABLE, E V E L Y N— Called "Unkissed 
Actress' until surprise marriage to cameraman 
Hal Mohr, December, 1934. Has two children. 

VINSON, HELEN — Divorced from Harry 
Vickerman, store executive, February, 1934. 
Married to tennis champion Fred Perry since 
December. 1935. 

WAYNE, JOHN — Married Josephine Saenz, 
Venezuelan beauty, since 1933. 

WEAVER, MARJORIE — Rumored as a secret 
bride of naval ensign, a graduate of _ Annapolis, 
whom she married last October. His name is 

WEISSMULLER, JOHNNY— After two-week 
courtship married dancer Bobbe Arnst, 1931; di- 
vorced, 1932. (Said Bobbe: "His body has gone 
to his head.") Eloped with Lupe Velez, October 
8, 1933. 

WEST, MAE — Long denied, but recently ad- 
mitted, marrying vaudevillian Frank Wallace in 
Milwaukee, April 11, 1911. Legal steps to dis- 
solve marriage in offing. 

WHALEN, MICHAEL — Apparently believes in 
"safety in numbers." Scatters his dates among 
several girls. 

WHEELER, BERT — Twice divorced when he 
married Sally Haines, February 26, 1937. 

WHITNEY, ELEANORE— Flirting with 
Johnny Downs, among others. 

WILCOX, ROBERT— Engaged to Joy Hodges. 

WILCOXON, HENRY— Married Sheila 
Browning, June, 1936. Divorced July, 1937. 

WILLIAM, WARREN— When he went away 
to War, Helen Nelson promised, to wait for him, 
and did — until 1923. They've been married ever 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

WILSON. MARIE— Engaged to director Nick 

WINCHELL, WALTER— Married June Magee, 
August, 1919. Has two children. Lost a third, 
tragically, on Christmas Eve a few years ago. 

WING, TOBY — Unattached since breaking en- 
gagement to Pinky Tomlin last Spring. 

WINNINGER, CHARLES— Separated from 
actress Blanche Ring. 

WONG. ANNA MAY— Unmarried. _ Recently 
rumored engaged to Chinese actor Philip Ahn. 

WOODS, DONALO— Married and has two 
children: Conrad (nicknamed '"Splinters") and 

WOOLSEY, ROBERT— Married to Mignon 

WRAY, FAY — Mrs. John Monk Saunders since 
April 15, 1929. Has one child. 

WYATT, JANE— Mrs. Edgar B. Ward since 
November, 19.^5. Temporarily retired to become 
mother Summer, 1937. 

WYMAN, JANE — Myron Futterman, million- 
aire dress manufacturer, is the lucky man. Mar- 
ried Summer, 1937. 

YOUNG, LORETTA— Brief marriage in teens 
to Grant Withers annulled. No marriages since, 
but there are always romance rumors about 
Loretta. Latest have her about to marry producer 
Joseph Mankiewicz. Adopted two little girls, Jane 
and Judy, June, 1937. 

YOUNG. ROBERT— M a r r i e d his boyhood 
sweetheart, Elizabeth Henderson. Children: Carol 
Ann (born 1932) and Barbara Queen (born 1937). 

YOUNG, ROLAND— Playw right Claire 
Kummer is his mother-in-law and close friend. He 

fell .in love with her daughter, Marjorie, when she 
was a little girl and remained a bachelor until 
she grew up, a few years ago. 

ZORINA. VERA — Free, white and 21. And — 
intent on her career. 

THERE are four hundred top Hollywood names 
in this list. But the compilation, for the record, 
totals 405 — since three individuals are included in 
each of two names, Marx Brothers and Ritz 
Brothers. These are the statistics: 

Of the total of 405, 91 have never been married. 
That leaves 313 who have been married. Of that 
number, 221 — or 71% — have been married only 
once. Of the 313 who have been married, 176 — 
or 56% — still have their first mates. Ninety-two 
of the 313 — or 29% — have been married more 
than once. Twenty-four — or 8% — have been mar- 
ried more than twice. Only five— oi 1.5% — have 
been married four times or more. 

According to recent statistics, one out of every 
six marriages throughout the United States ends 
in divorce. Of the 313 top players in Hollywood 
who have married, two out of five have experienced 
divorce. But in many instances where divorces 
have occurred, the divorces preceded the players' 
arrival in Hollywood. Hollywood had nothing to 
do with the failure of those marriages. They would 
have failed anywhere. 

In short, Hollywood has been slightly maligned. 
Despite the unusual working conditions, the con- 
stant intermingling of attractive men and women, 
the constant make-believe emotionalizing, seven 
out of ten of the people who matter have been 
married only once. Six out of ten still are married 
to their first choices. 

Vocal Boy Makes Good 

[Continued from page 32] 

his movie earnings now, to buy that farm. 
That's why he gives himself just $50 a 
month for spending money. And that's why 
he and his wife and his young child live on 
a maximum allowance of $500 a month for 
EVERYTHING— and that "everything" 
even includes Kenny's working clothes. And 
when you figure that a movie actor's ward- 
robe — say 'Dolphe Menjou's for example — 
costs usually a few thousand a year, you 
can realize that Kenny and the Missus and 
the young Baker have set themselves no 
mean task, as Hollywood goes. 

Incidentally, this Menjou chap is one of 
Kenny Baker's professional idols. 

"Menjou," Kenny tells you, if you care, 
"knows more about the tricks that con- 
stitute screen technique than any half-dozen 
other movie actors put together and added 


And so Kenny, being an ambitious lad, 
spends his hours off doing what busmen are 
supposed to do on their holidays. That is, 
Kenny instead of staying home, comes to the 
studio anyway and sits on the sidelines and 
watches Menjou do his eyebrow-lifting, 
shoulder-shrugging, lip-twisting and so Qn. 
Then (although Kenny doesn't admit this) 
I suspect this Baker lad goes home to his 
dressing-stand mirror and practices with his 
own eyebrows, shoulders and lips. He hopes 
he'll be an actor, some day . . . 

YOU see, he knows he isn't an actor now. 
Anyway, he insists he isn't. And that's 
one factor wherein Baker differs radically 
from most other Hollywood movie men. I 
know a lot of them who insist they ARE 
actors, despite the private opinion of their 
friends, co-workers, and others. But let's 
skip that — this is a Kenny Baker story, 
isn't it? . . . So back to Kenny and his 
evaluation of himself : 

"I've got nothing at all to give to the' 
screen," he confesses, "except my singing 
voice, and that's just luck. I'm still and 
always amazed at being 'in the money' be- 
fore the camera, because as an actor, I'm a 
darned good farmer !" 

However, he has ambitions, as I've pointed 
out in that spare-time-studying-Menjou busi- 
ness. Kenny goes even further. He hasn't 
many evenings off, what with radio re- 
hearsals and studying his movie and radio 
scripts. However, Kenny does take those 
evenings off at his neighborhood movie 
theatres. He doesn't go because he's just 
nuts about movies. He goes because it's 
"school" to him; he goes and watches and 
studies the acting of other male stars. He 
takes them apart, observes their mannerisms, 
their tricks, their what-you-might-call pro- 
fessional trade-marks. After he's analyzed 
them, he discards those that won't match 
up with his own individual personality, and 
then tries to adapt what's left to his own 

I don't mean that he deliberately steals 
the stuff of recognized screen stars— but he 
does acquire, from studying that "stuff," 
something more for his own work. When 
Kenny Baker — IF ever— reaches that spot 
of achievement in which he's satisfied with 
himself, he'll be a sort of human compound 
of barrymore, crosby, powell, menjou, 
cooper, gable, tibbett et al, and yet not any 
one of these ingredients more than another. 
Above all, he'll still be Kenny Baker. It's 
like good cooking — you season the dish with 
a lot of spices and tastes, but fundamentally, 
it's still what it started out to be. 

About Kenny, there's no Hollywoodish- 
ness, as yet. I don't know whether he ever 
will "go Hollywood." Offhand, I'd say 
he won't. So about Kenny Baker, I'll say 
only this — he hasn't gone Hollywood yet ; 
he doesn't even show any signs of going- 
Hollywood — and above all, he's had such a 
tough drag on his way to the eminence he's 
now reached that it'll take a lot to knock 
him into that degree of haywireness known 
as "gone Hollywood." 

And for the same reason, it really isn't 
any job at all for him and Mrs. Baker to 
keep well within the narrow budget limits 
they've set themselves. You see, not very 
long ago, they had only about $75 a month 
to live on — instead of the $550 total they're 




ftaturedin the Paramount picture % 




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allowing' themselves now . . . ! And that 
brings us to the story of Ken's life. It's 
already been dubbed, punnishly, "Vocal Boy 
Makes Good." That's as good a key-line 
as any. 

KENNY is essentially a small-town boy. 
He first squalled defiance at the world, 
in an already-effective tenor voice, in a 
town called Monrovia, some twenty miles 
from Hollywood in the California foothills. 
It's surrounded by orange groves, straw- 
berry-stands, hot-dog emporiums and as- 
sorted ranches. In his school days, the 
family moved to Long Beach, twenty miles 
south of Hollywood, whereas Monrovia is 
east. But still twenty miles, geographically 
—and thousands of miles, as far as Kenny's 
interests were concerned. 

The Baker lad was no youthful extrovert. 
He did NOT have the apparent makings of 
a show-actor. He was quiet, studious, in- 
dustrious and shy. If he hadn't been so 
shy, he might have noticed a gal who was 
being quite earnestly noticed, even then, by 
the young boys of the Long Beach schools. 
Her name is Andrea Leeds, and even today, 
she's still being noticed — and how ! But 
even though Andrea shared the same class- 
rooms with Kenny Baker, she came as a 
complete surprise in his young life when 
Sam Goldwyn hired him, recently, to make 
love to her in The Goldwyn Follies. Kenny 
didn't even remember her as the gal with 
whom he'd gone to school ! 

However, don't let this leeds-ignorance 
of his mislead you — or should I have said 
Miss-Leed you? Skip it, please. What I'm 
driving at is that Kenny was no gal-hater. 
He WAS shy, but not so shy that he didn't 
pursue an extra-curricular course of study 
into what made Miss Geraldine Churchill 
so darned alluring to him. He studied this 
matter so assiduously that shortly after he 
quit school, he married Geraldine. He's 
still married to her, and he's quite certain 
that even though it isn't considered the best 
form in Hollywood, he's going to stay 
married to her. In fact, odd as it may seem, 
he loves her. She knows it, and that's why 
she doesn't mind his making love to Andrea 
Leeds — because after all, Goldwyn is paying 
him plenty for it, isn't he? 

WHEN he married Geraldine, Kenny 
was cleaning up the magnificent sum 
of $19 a week ! With that simple statement, 
it becomes unnecessary to mention further 
that Kenny, although he's a tenor, never- 
theless has guts. It takes precisely that — 
and spelled in four letters, instead of dolled 
up to read "intestinal fortitude !" — to get 
married on nineteen bucks a week. The 
nineteen-per was Kenny's emolument for 
rounding out a radio quartette. 

You see, by now Kenny had learned that 
his voice was good. But even so, he'd prob- 
ably never have made a living with it, if it 
hadn't been for two things — his mother and 
an earthquake . . . ! 

His mother's part came in 1930, when she 
argued him into entering the national At- 
water-Kent radio audition. Kenny thought 
he wasn't good enough. Mother, as mothers 
always do, thought differently. Rather than 
argue any more with her, Kenny entered. 

"Imagine his surprise when he won the 
contest !" should be the proper pay-off to 
this anecdote. But it isn't. Because Kenny 
couldn't do any better than finish as an 
"also-ran" in the Long Beach locals of the 
national contest. He never even got out of 
his home town, that time. But somehow, 
the competition had fired his spirit. And 
for that, his mother must always be thanked. 
Nevertheless, it DID take an earthquake 
really to start Kenny going places. 

The earthquake came in 1933. You re- 

member it. Among other things that rocked 
were several buildings of Kenny's junior 
college. As a result, the college courses be- 
came a bit confused — crowded class-rooms, 
curtailed courses, and that sort of thing. 
Kenny figured he could do better by singing. 
So he quit college and started singing in 
earnest. He got to calling himself "the 
service-club tenor," because every time the 
Rotary or the Kiwanis or the Lions or any 
of those outfits wanted a singer, they hollered 
for Kenny. He ate so much roast lamb and 
green peas that he forgot there was any 
other kind of meat, and vegetable. But all 
this volunteer singing got him pretty well 
known as a tenor, and eventually radio jobs 
began to be offered. Kenny took 'em all, 
and when he finally landed the $19-a-week 
one, he got married, too. Then he really 
HAD to sing. 

FROM then on, the story's one of steady 
ladder-climbing. He sang at the Bilt- 
more Bowl in Los Angeles, where he met 
many a movie star face to face. Or tonsil- 
to-tonsil, if you insist. It was there that 
Mervyn Leroy first saw him, heard him and 
signed him. Today, Kenny is one of Mervyn's 
contractees. It was around here that he 
tried another radio audition contest — this 
time, Eddie Duchin's Texaco contest. This 
time, Kenny made good — and when he won 
the finals, he got his first national radio job, 
on the Texaco hour. From then on, he 
went places, and the $19-a-week swelled to 
a hundred-a-week and finally into the four- 
digit class. Vocal boy had made good. 

But success hasn't changed him. He's still 
the small-town boy, and not at all big- 
headed or too self-assertive. He won't even 
argue about whether Monrovia or Long 
Beach have the right to claim him as their 
own home town lad who made good. Both 
do. Every time either of them holds a 
community shindig, Kenny has to sing for 
them. He sings as lustily for Monrovia as 
he does for Long Beach ; he gives his all 
for Long Beach as willingly as for Monrovia. 

On the set, between takes, you'd mistake 
him for a bashful visitor from Iowa, maybe. 
I particularly remember the first time I saw 
him. It was on the big stage at Sam 
Goldwyn's, where they were shooting a se- 
quence in The Goldwyn Follies. Kenny was 
sitting at a big grand piano, and surrounded 
by everybody else in the cast — including, 
take note, hordes of bee-ooo-teee-fullll dam- 
sels. Now any ordinarily-Hollywood young 
man, in a spot like that, would be found be- 
tween takes either surrounded by the gals 
or surrounding one of them with his own 
personality. But Kenny? — no sir. Between 
takes, Kenny retired like a bashful boy at 
a party into a dark corner of the set. He 
just sat there, if not actually, then figura- 
tively, twiddling his thumbs. He never spoke 
unless spoken to. And not until the elec- 
tricians hit the lights and the set blazed into 
life did Kenny do the same. Then he came 
out, did his stuff, smiled and played and 
sang — and when the take was over, he 
scuttled back into his corner. 

He doesn't even "dress Hollywood." To 
look at him you'd take him for a Fuller 
brush man instead of an up-and-coming 
screen heart appealist. He doesn't force 
himself on you. In fact, you have to drag 
him out of his shell to make him talk. He'd 
rather talk about football or the prize fights 
or poker than about himself. Or farming. 

That's why, instead of taking a Beverly 
Hills mansion, he and the missus have 
rented a little farm over in San Fernando 
valley. Not one of these make-believe 1 
ranches like so many of the movie stars 
have, but a practical farm, on which he al- 
ready raises vegetables, fruit and chick- 


Accept No Substitutes ! Always Insist on the Advertised Brand! 

"I'd Rather Be First" — Sonja Henie 

[Continued from page 27] 

But not by throwing her skates over the 
windmill. She knows that. 

Waking up in the morning, Sonja opens 
her eyes and immediately sits up in bed. 
Outside it is still dark and most girls of her 
social standing will take another four hours 
over their beauty sleep. But being a film 
star consists of more than relaxing by the 
side of a marble and lapis lazuli swimming- 
pool on the pages of the best magazines. It 
means getting up at five in the morning, 
having your hair washed and your face made 
up, being on the set at 7 :30 for eight or nine 
hours of strenuous work — and interviews 
and fittings and still pictures and social en- 
gagements tucked into the odd minutes. 

For most new-born stars that's quite a 
program. Even the hardened campaigners 
take time out at the desert every so often 
to keep up their strength. Newcomers to 
the screen find the readjustment difficult, the 
physical and mental effort a strain. Not 
Sonja. Trained so that the smallest, most 
elusive muscle responds instantly to the 
most unimportant little brain cell, she takes 
it all in her stride — and you all know what a 
seven-league stride that can be when she 
gets her skates - on. 

NOT long ago she had a tumble on the 
ice which would have had a girl of 
lesser stamina laid up for three or four 
weeks. Skimming across the ice, one skate 
caught in some "snow." The snow was 
made of cotton, and cotton to a skate is as 
a stone wall to an automobile. Travelling 
at about thirty miles an hour a brake was put 
on to one skate, the other went sailing 
straight ahead. The crack with which 
Sonja's head hit the ice could be heard in 
Mr. Zanuck's office. 

Sonja was out for the count. They car- 
ried her to the sidelines. They sent for an 
ambulance. She opened her eyes, picked 
herself up. 

"I will go on working," she declared. "I 
am not hurt. Just a little dizzy, that's all. 
It will pass." 

And she worked all that afternoon — and 
went home at night to be told that she had 
concussion, possibly a cracked skull. For- 
tunately, the skull was not cracked, and 
Sonja was back at work two days later. 
She's not a trained athlete for nothing. 

So, at five in the morning there are no 
groans and moans for just-a-few-more-min- 
utes-please at the Henie apartment. Sonja 
is right on the job; efficient, bright-eyed, 
practical. Methodically she plans her day 
as she has long since planned her life. In 
the same calm tones with which she once, as 
a little girl, informed her mother that "first 
I will win ten championships. Then I will 
become a movie star," she plans that at nine 
o'clock she will do this ; at eleven, that. That 
she will lunch with so-and-so and that at 
three she will practice skating for one hour 
(no more, no less). At five the milliner 
should be told to call and at six an interview 
could be fitted in — and so on up to nine 
o'clock bedtime — unless a party has been ar- 
ranged in her honor which she must 

That is her plan for the day and that plan 
she will stick to. Additions may be made, 
but there will be no subtractions. That, at 
five in the morning is what she intends to do. 
That, by nine at night, is exactly what she 
has done. 

Her plan of living has been as con- 
scientiously followed. First she won ten 
championships. Then she became a film 

star. Her childish addition to that plan of 
living was : 

"I will not marry until I am thirty." 

Maybe that's the answer to all that has 
been written about Sonja and Tyrone 
Power. It is true that their romance started 
in the publicity department of the studio — 
and ended there. But in the interim they 
became very fond of each other, very close 
friends. Tyrone asked her to marry him 
and Sonja considered very carefully. But 
she had planned her life. She would marry 
at thirty. Perhaps if there had been a real, 
deep love between them she might just once 
in her life have altered her direction. But 
instinctively she knew that, romantic as this 
friendship might be, it was not the love of a 
lifetime. And when, a few months later he 
fell in love with someone else nothing was 
hurt except her pride — and that, not because 
he loved another girl but because he was 
scared to tell her so. 

"We were such friends," she said. "Why 
did he not tell me all of this ? Why did he 
let me hear it from other people, read about 
in the newspapers? If only, as you say in 
America, he had just put all his cards on the 
table, he would have found me so sym- 

Sonja, then, knows where she is going, 
knows her ability to get there, but there is 
no conceit in her. Conceit is a sign of weak- 
ness. Sonja's five foot nothing is a tower 
of strength. Similarly if there is no conceit 
in her, by the same token there is neither 
any mock modesty. She will inform you 
when she is good in the same analytical tones 
in which she will tell you she's bad — and 
with equal truth. 

WATCH her do a trick on the. ice, 
something new which makes even her 
mother gasp. 

"That was good," says her teacher, Harry 
Losee. He is a teacher of ballet, not of 
skating, he had never seen a skate before 
he saw Sonja and he expects — and gets — 
miracles from her. 

"I know," says Sonja calmly. "Never in 
my life have I skated so well as now," she 
adds. "It is all the practice. I know many 
new figures that I never dreamt of before." 
And she smiles at Losee who has no idea 
of the practical difficulties of a pair of skates, 
who accepts no compromise. 

"I tell you, such a thing can not be done 
on skates," Sonja berates him. 

"Go out there and do it," he orders. Sonja 
shrugs her shoulders, goes out there — and 
does it. 

One evening she was giving an exhibition. 
Everything went wrong. The music was 
off beat, the corps de ballet missed cues, 
Sonja was upset. 

"You were all bad," she scolded them 
afterwards. "And I — I was the worst," she 
added in her staccato English. 

She has no conceit about her achieve- 
ments. Nor is she any prima donna. She 
demands no concessions, no special tokens of 
favor from anyone. Nor gives them. This 
man may have been born a king, that man a 
carpenter. A is President of a _ Picture 
Corporation, B is his lowest salaried pub- 
licity man. She respects each one of them 
who does his job well. 

"I would no more think of telling you 
how to run your job even when it concerns 
me," she seriously explained to a very minor 
executive at her studio, "than I would expect 
you to tell me how to skate." 

Ask her this: "How did you feel when 





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you have had to give command performances 
before kings and dictators ?" 

"Whoever is in the audience it is all the 
same to me ; when I begin to skate I think 
of nobody," she answers. 

"And when you meet them, the great 
ones? When you are taken to their box 
afterwards ?" 

"They are just people. They do their 
job," she says quietly. 

THERE have been things that might have 
turned a lesser head. For instance the 
opinion of her fellow-countrymen. Down 
to the harbor to greet her poured 75,000 
citizens of her home town when she visited 
Norway last summer. 75,000 — out of a 
total population of 100,000. 

Then a pool was taken by the leading- 
newspaper of Norway to choose the greatest 
representatives of Norway, past and present, 
for the Hall of Fame, Scandinavian Exposi- 
tion, New York City. Sonja was chosen 
as the greatest living citizen — with only 
five great men of the past : explorers, Nan- 
sen and Amundsen, novelist Bjornson, com- 
poser Greig, and playwright Ibsen, ahead 
of her. 

Finally the greatest achievement of all. 
One day on the set she received a cable- 
gram. Opening it she found that the King 
of Norway had conveyed on her the highest 
honor possible for her to receive from him. 
She was a Knight of the Order of St. Olaf 
— first class. The youngest living person 
by perhaps more than thirty years ever to 
receive this honor; the fifth woman in all 
history to get the tribute, usually only con- 
ferred on those who have brought fame to 
Norway long after they were too old to ap- 
preciate it. 

Perhaps for the first time in her life Sonja 
was speechless. Her feelings were too deep 

for comment. She was so proud and so 
happy that she did not say one word. Only 
her glowing face as she opened the thousands 
of telegrams of congratulation indicated her 
joy — her pride — but not, even then, her 

"Every summer I will go back to Nor- 
way. I will spend my time up in the moun- 
tains, fishing and hunting; I will let my 
hair go any way it pleases and I won't use 
any make-up at all. I will be a Norwegian 
girl again, eat Norwegian food, speak Nor- 
wegian. But in the winter I will be an 
American. Someday soon I am going to 
build a home here in California. 

And it will be a home, not just a house. 
The Henies are home-loving people and 
though Sonja has two countries, two lan- 
guages, two lives, she lives both of them 
thoroughly. When she is in America she 
does as the Americans do, wears American 
clothes, talks American, eats American. 
Only with her mother she speaks Nor- 
wegian. Only at home she sometimes asks 
for Norwegian food. Especially goat's 
cheese. Sonja loves the sticky, sweet, bees- 
waxy goat's cheese which comes across the 
Atlantic especially for the Henie household. 

As for the Norwegian colony in Holly- 
wood, its restaurant, its church — Sonja 
would visit them if she had time. But she 
simply does not have time in Hollywood for 
anything but work — not even nowadays for 

WHAT thoughts pass through that 
busy, active brain all the time ? What 
is she thinking? Let her answer that herself. 
"What am I thinking about most of the 
time? Skating." And though her smile is 
enigmatic that is at least half the truth. 
Skating is and always has been her career. 
And her career is very, very important. 

Alice Faye's Marriage Code 

[Continued from page 29] 

wouldn't have had time for a regular wed- 
ding if they had waited. 

"I've always wanted one, though. I used 
to dream of it — of having a veil six yards 
long and bridesmaids in lovely, frilly gowns 
and a thousand pink roses for decorations !" 
said Alice. She was at a party being given 
in her honor and she was unaware that 
Darryl Zanuck, her Boss, was listening. 
Back at the studio he called in two scenario 
writers . . . 

AND so Alice had her wedding after all 
. (Scene 356B) — "with a veil six yards 
long" and everything, even to the thousand 
pink roses ! 

"It's wonderful having Tony with me in 
this picture," she told me as we sat in her 
dressing-room. We'd just had lunch there. 
A grand lunch of fried chicken and souffle 
that melted in your mouth. The bridal 
costume was carefully hung upon a hanger 
and Alice had donned a gingham apron — 
even as you and I — to warm over the food 
that had been sent from a nearby restaurant. 
How she managed I don't quite know, with 
Tony hovering in the background, system- 
atically twisting each curl. 

"This is the first chance I've had to really 
see my wife since we've been married," he 
essayed. "And it's been nearly six-and-a- 
half "months ! Shake, Mrs. Martin !" 

"Shake, Mr. Martin! And if you don't 
eat your chicken it's going to get cold." 

As cute as a bug's ear, those two. "You 
first met right at the studio, didn't you?" I 

"Yep," said Tony. "On the set of Sing, 
Baby, Sing. And it was all over with me 
right then and there. But I thought I'd 
never get her to say 'Yes !' " 

Alice wrinkled her nose at him. "This is 
the first time, though, that we've ever played 
opposite each other." 

"What a break for me !" murmured Tony. 
And for a moment their eyes met and I 
wondered if I really ought to be near those 
electric currents at my age ! 

Then the assistant director called Tony, 
and Alice settled back quietly to talk. It 
occurred to me that she had changed a 
good deal during this half year of marriage. 
She's more beautiful for one thing. Maybe 
you've noticed. And the Play Girl who 
tapped the night spots of Hollywood has 
somehow disappeared. In her place is a 
very poised, very charming young woman. 
Confident, sure of herself. 

"Tony has made me confident. I never 
was, you know. I used to think, 'Alice, 
you're on a see-saw — you never know which 
end is going down !' But in some way he's 
straightened everything out. He believes so 
in me that it makes things easy. For in- 
stance, when we go over our songs together 
at night — he's trained in music and I haven't 
taken a single lesson really. But he thinks 
I'm good and somehow thai makes a girl 
do better than her best !" 


Accept No Substitutes ! Always Insist on the Advertised Brand ! 

SHE has her own marriage code. She 
summed it up hesitantly, feeling for 
words because it's so close to her heart. 

"Marriage," said Alice Faye, "is like a 
stock company. It depends on the actors 
knowing their parts — and on their working ■ 
together! You give the best you have to a 
part. You study it and if it calls for dancing 
you practice your step — and watch it ! It's 
the same in marriage. If you've given it 
everything you have and it still fails — well, 
you can 'sign, off' without regrets. 

"We have our own 'success rules.' Five 
of them. We drew them up the day before 
we were married and so far we've stuck to 
them ! 

"No. 1 : is — each of us is free to follow 
our own pursuits. Tony, for instance, loves 
golf and I don't. So each Sunday morning 
he plays eighteen holes while I do some- 
thing else. I think this business of being 
so possessive of one another puts an awful 
period to romance ! 

"No 2: is absolute honesty. You can't 
find happiness without it — either singly or 
in pairs ! 

"And then we have agreed not to read any 
motion picture columns. You see, so many 
Hollywood couples have been made miser- 
able by gossip. They pick up a paper and 
there it is. The husband was 'seen lunching 
with Somebody Else.' The wife 'danced 
twice with Another Man — looks like cur- 
tains for so-and-so's marriage !' . . . Every- 
thing you do is so reshaped and enlarged 
upon that it's better to ignore the gossip 
chatter altogether. That's No. 3. 

"Rule No. 4: is to try to get the other 
felloiv's point of view before we start to 
criticize. For example, I try to put myself 
in Tony's place to get his angle when things 
seem to be going awry. And it works 1 
That's one of the finest points about being 
married, it teaches you to think of someone 
else . . . 

"No. 5 : is to keep our sense of humor on 
tap. Laughter is a pretty handy thing to 
have around the house !" 

And they make good use of it, those two. 
They have so much fun together. Out of 
little things. Tiny things. 

EVEN when she was so poor that a dollar 
looked like a fortune, Alice used to plan 
on the luxurious apartment she'd have when 
she married. She likes hotel life, the ex- 
citement and bustle — and having a beautiful 
suite of her own . . . She has it now, in 
fashionable Sunset Towers which sits high 
above the city. At night when they go 
home, there is Tony's unctuous little Filipino 
to greet them, and a dinner waiting to be 
served in front of an enormous bay-window 
with the whole of Hollywood lying literally 
at their feet. 

"You see that circle of stars out there? 
That's a crown for your hair!" Tony will 

"It isn't either," Alice grimaces at him. 
"Those are the beacon lights on the oil 

wells!" And suddenly they're laughing 
across the table, forgetting how tired they 
are after nine hours under blazing lights, 
worshipping . . . 

There is always music. It's the thing 
that drew them together in the first place. 
A slim, dark-haired boy from San Francisco 
who first made a name for himself on the 
radio. And a slim, blonde girl from New 
York who emblazoned her own name in 
radio history. 

Rudy Vallee was her sponsor, you re- 
member. Incidentally, an ugly rumor got 
around a short while ago when Rudy was 
playing at the Cocoanut Grove. The Whis- 
pering Herd had it that he slighted Tony and 
Alice entirely. Alice — who was once said 
to be engaged to him. The truth is that 
Rudy sent a huge bouquet of flowers to their 
table and played two special numbers _ in 
their honor. So much for Old Lady Gossip ! 

'"■pHERE'S one belief Tony and I have 

A broken," mused Alice. "We're both 
bridge fiends, you know. What's more, we 
play partners and we have yet to trump 
each other's ace! It's all nonsense that 
husbands and wives shouldn't play the game 
together ! Our foursome is usually made up 
of Betty King, who has been my chum since 
the days we danced in the Chester Hale unit 
side by side, and her husband Walter Scharf 
of the studio's musical department. 

"The four of us go out a lot together, too 
... to the Trocadero, to Venice where we 
practically ride the slides off the roller- 
coasters ! To Palm Springs for the week- 
end — and a sunburn! Only Tony won't let 
me burn very much at a time for fear I'll get 
that sunburn poisoning. He's considerate 
in so many little ways. 

"For example, when I went to New York 
for the opening of In Old Chicago he couldn't 
go along because of his radio work. But 
he went as far as San Bernardino with me 
and when he left the train he handed me a 
big envelope. Inside was a special message 
for every day I was to be gone !" 

But Alice does her own share of being 
considerate. There was the matter _ of 
Tony's birthday . . . He was born on Christ- 
mas and all his life he's bemoaned the fact. 
"Seems as if I got cheated out of an extra 
day!" he used to tell the family. So — Last 
Christmas Eve a telegram arrived on the 
set for Tony Martin. "You are hereby 
notified," it read, "that your birthday hence- 
forth will be observed each December 
twenty-ninth instead of on Christmas Day 
as heretofore." Signed, Alice Faye, Special 
Arranger ! 

And so on the 29th Tony awoke to find 
his room filled with presents . . . 

"He really is wonderful," said Alice. 

A dark head appeared at the door at that 
moment. "You keep right on thinking that 
way, Mrs. Martin !" grinned Tony. "By the 
way, they're going to shoot that wedding 
sequence again this afternoon." 

"Oh grand!" said his wife. And they 
looked at each other. 

Superlatives of 1937-1938 

[Continued from page 31] 

waist, 22 inches, a half inch less than Betty 
Grable's and Lana Turner's. 

Robert Taylor receives the most mash 
notes, and the post-office delivers his mail 
in trucks, by the pound. Joan Barrymore, 
recently the recipient of the most ridiculous 
publicity, comes through this year with more 

sterling honors with the best come-back, in 
True Confession. And Marlene Dietrich, 
not to be left out, is given credit for owning 
the largest collection of artificial eyelashes. 
Frances Farmer cares least about clothes, 
and when you learn that she goes about in a 
pair of her six-foot husband's old tweed 




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pants, and ask, "How do they fit?" the 
answer is, "They don't !" Kay Francis 
rebels in print against her title of best 
dressed, but it's valuable at the box-office 
just the same. And Adolphe Mcnjou con- 
tinues to wear his crown as the best-dressed 
male. In fact he is rated among the ten 
best-dressed men in the world. 

Ann Sothern, just to be different, is Holly- 
wood's most traveled bride, having jour- 
neyed some 40,000 miles to spend a total of 
16 weeks with husband Roger Pryor, to 
whom she's been married for 14 months at 
this writing. Katie Hepburn is the best girl 
golfer, and while this title for men is too 
keenly contested to be decided idly, Bing 
Crosby is in there trying ! The same for 
Dick Arlen ! ! Crosby, incidentally, is the 
star with the most outside interests, owning 
24 race horses, part of a race-track, a music 
corporation, a book-publishing concern, an 
agency, and keeping busy, between times, 
dabbling in real estate, making records, and 
starring on the radio. 

enough, wears the most individual hair- 
style. Others may change with every pic- 
ture, but Claudette sticks to her bangs. She 
is also, producers will tell you ruefully, the 
best business-woman so far as signing con- 
tracts — and knowing what's in 'em! 

Freddie Bartholomew had the year's 
zt'orst legal difficulties, with a large portion 
of his earnings going to pay lawyers' fees, 
and a check-up of newspaper headlines re- 
veals George Brent and Constance Worth 
received most publicity for a marital smash- 

When W. S. Van Dyke predicted, "Within 
two years Ilona Massey will be one of 
Hollywood's ten top stars !" he handed her 
the title of most predicted for, although 
Andrea Leeds has a strong position as 
a runner-up for the title. 

And Wayne Morris, Sonja Henie, Alan 
Curtis, Tommy Kelly, and Deanna Durbin 
are all shouldering Jon Hall for his title of 
quickest rise to fame. (Jon accomplished 
full stardom in his first picture, Hurricane) . 
Meanwhile, keep your eyes on Marjorie 

Warren William's proud boast of being 
ouvbest amateur inventorrests with his latest 
gadget — a movable buffet (on a Ford 
chassis) for serving lunch to folks in the 
swimming-pool. Believe it or not, the 
affair is equipped with an electric rod that 
kills flies ! Warren has also thought up a 
draftless dog kennel, and a special plow 
attachment that removes stones from his 
farm lands. And while we're being rural, 
Myrna Loy owns the largest lime orchard, 
4 acres, and she'll tell you proudly, "It's out 
of the freezing zone !" 

Paul Muni, rated by Hollywood, itself, as 
our best actor, is also considered the least 
affected by fame. He gave up a fortune in 
contracts to make a world trip, and right at 
the moment when he might have cashed in 
on the success of Zola. Spencer Tracy, de- 
servedly, comes second for the acting honors, 
and among the girls, Garbo is championed 
locally as deserving an Academy award for 
Camille and Conquest. She's never received 
this coveted honor ! 

/1/fOST outspoken star of the year is little 
1 VI Luise Rainer, who called Hollywood 
"a prison," and announced her intention of 
living in a hotel suite until her contract 
terminates — because it will make her less 
permanently a part of the movie colony ! 
Grace Moore is still considered the most 
temperamental star. by many. 

Greatest tragedy was the death of 
lovely Jean Harlow at the height of 
her beauty and talent. Jean, incidentally, 

was one of Hollywood's best beloved stars. 

Fred MacMurray holds the most publicity 
shy title for men, due to his habit of chewing 
on a pipe and blushing when interviewed, 
and Frances Dee, who wishes she could go 
unrecognized between pictures, is the most 
publicity shy actress. 

Among the collectors, Eddie Horton 
stands out with his biggest house-full of 
antiques, Robert Montgomery for his best 
collection of first editions and Helen 
Broderick, surprisingly enough, for the 
largest garden of Shasta daisies. Bill Powell 
is pretty proud of his biggest collection of 
DULL books, having announced once, as a 
gag, that he was gathering them. So, ever 
since, fans have been mailing volumes of the 
most fascinating statistics on women's clubs, 
and now he has a roomful. Gladys George 
owns the most perfumes — over three-fourths 
of all the scents in the world ! 

Clara Bow returns to the spotlight as the 
best business woman with business booming 
at the "It" cafe. Usually stars fail when 
they go into outside ventures. Betty Furness 
wears the screzvicst hats, topping even her 
own record by falling in love with a "vege- 
table plate" affair someone sent her from 
New York as a joke. 

Sophie Tucker, generously enough, makes 
most appearances for charity, while another 
old stage favorite, Victor Moore, stands out 
as our best fisherman. And Fred Stone is 
the best huntsman, bringing in his quota of 
ducks, quail, or whatever is in season. 

Most exciting romance of the year is be- 
tween Barbara Stanwyck and Robert 
Taylor; and Wayne Morris, until his en- 
gagement to Priscilla Lane, stood foremost 
as the girls' most popular escort. Fezvest 
servants are employed by Clark Gable, for 
men, and Greta Garbo, for the girls. Greta 
even dispenses with the services of a maid 
when she's between pictures. George Raft 
is considered by studio employees as the 
most democr